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Copyright N° 

COPVRIGHT DEPOSIT 






A Sewing Course 



COMPRISING 



Directions for Making the Various Stitches 

AND 

Instruction in Methods of Teaching 



BY 



MARY SCHENCK WOOLMAN, B. S. 

PROFESSOR OF 

DOMESTIC ART IN TEACHERS COLLEGE, COLUMBIA UNIVERSITY, 

AND DIRECTOR OF THE MANHATTAN TRADE 

SCHOOL FOR GIRLS 



Fourth Edition, Revised 



NEW YORK AND BUFFALO 

Frederik A. Fernald 

1908 






LIBHARY ot GONGKE33 
I wo Copies decerns* 

JUL 3 W08 

vU W jHi>il L1IU9 

ASSA AXc Nu 

2-O^j TO/ 

CoVf d. 



COPYRIGHT 1893 and 1908 



MARY SCHENCK WOOLMAN 



An Interleaved Edition of this book is published, in which are inserted 31 
leaves of bristol-board for mounting the practice pieces made by the student. 
Price, $3.50 net. 

Interleaved copies with sets of models mounted on the bristol-board leaves 
can be supplied by the Domestic Art Department of Teachers College. 
Price, $19.25 net. 






^ 



PREFACE. 



The introduction of manual training as a necessary part of education has 
raised sewing to an art of great importance. Outside of the practical advantage 
of being able to use the needle, the mental training through hand and eye has 
been proved to have a permanent effect on the character. The training of the 
hand makes it dextrous in other employments. Habits of thrift, cleanliness, 
patience and accuracy are inculcated, economy taught and the inventive faculty 
developed. Attention and the power of observation are increased by giving the 
lesson to an entire class at one time instead of by the old method of showing each 
pupil separately. 

In order to get the best results, certain fixed rules must be followed ; to meet 
this want, these brief notes are given for the use of teachers. The course is care- 
fullv graded to lead the mind gradually upward to more difficult needlework. 
An enthusiastic and progressive teacher can, through sewing, make freer and 
more capable beings of her pupils and help round out their characters. 

[From the first edition, 1S93.] 



PREFACE 

to the 

SECOND EDITION. 



The careful student of the trend of educational thought in the present day is 
impressed with the idea that it is as necessary to provide in the schools for some 
form of hand work as it is for academic study. From this point of view, sewing 
and attendant forms of household industries may be valuable, as they can present 
strong sociological, economic and ethical arguments for their introduction. It is 
not a question of preparing for a trade, it is to give mental and moral strength, to 
increase appreciation for the true and the beautiful, and to develop a love of doing 
and a desire to do for others. 

This second edition of the " Sewing Course" is sent out with many added 
suggestions to teachers, on means of cultivating the thought, will and judgment 
of the classes, and for obtaining results in creative self-activity, which will help 
the child more capably to take his place in society. 

Mary Schenck Woolman, 
Director of Domestic Art, Teachers College. 

New York, June, 1900. 

PREFACE 

to the 

THIRD EDITION. 



In sending forth the third edition of the " Sewing Course " the author would 
urge anew upon all sewing teachers their need of knowing the general work of 
the gr:ulcs or high Schools in which they are teaching, and the home conditions 
of the pupils, that they may plan their courses of work for actual service. The 
educational world is waking up to the fact that the Household Arts may be of 
great value in the school. The well-trained teacher has brought this about by the 
correlation she has made between the general academic work, the art, and the 
handicraft courses. A series of set models may serve a useful purpose in quickly 
giving accurate ideas to teachers, but they have no place in school work. The 
logical development of the stitches is an insignificant aim in comparison with the 
logical development of the child. This book for teachers suggests many worth 
while articles which may be used in teaching the subject in the schools. 

Mary Schenck Woolman, 
Professor of Domestic Art, Teachers College 
and 
Director of the Manhattan Trade School for Girls. 
New York, May 23, 1905. 

4 



PREFACE 

to the 

FOURTH EDITION, 



The fourth edition of the Sewing Course has been entirely rewritten and 
contains almost a new volume on teaching. This educational section has been 
prepared in response to the frequently expressed wish that the author would dis- 
cuss this subject for the benefit of those teachers who had not taken the Domestic 
Art Course at Teachers College. The book was originally written for the College 
students to supplement their instruction by technical data. It is now in use 
throughout the United States. Since it was first issued, in 1S93, there has been 
a great evolution in educational thought and still further changes are imminent. 
Interest in manual training has grown and is gradually being supplemented by 
enthusiasm in many new phases of industrial and trade education. The teachers 
of handwork have now a very responsible work to do. As a preparation for it 
the}' need as excellent a culture foundation and pedagogical training as any aca- 
demic teacher. In addition they must have satisfactory technical experience. The 
author trusts that these suggestions for teaching may be of service. 

The new educational views which affect the teacher of sewing have come 
gradually. The narrow sewing course of the early schools was first strengthened 
by the added requirements for training mind, emotions and habits. Soon another 
phase appeared and efficiency in life and social service became the goal of hand- 
work. Again the appreciation of the many needs in American homes has called 
upon the teachers of the household arts to consider these problems and to aid in 
their solution. The awakening of the country to the condition of the vast body 
of wage earners has again added a demand for vocational training as a part of the 
public instruction and the teacher of manual arts finds her horizon again widen. 
To be successful she must know her subject from all sides. The four prefaces to 
successive editions of this book show between their lines the gradual awakening 
to new values in hand training in education. 

Mary Schenck Woolman. 
New York, March 27, 1908. 



CONTENTS 



Notes for Teachers 7 

Cardboard Sewing 35 

Canvas Work 37 

Weaving 39 

Folding a Hem 42 

Mitering 42 

Running 44 

Stitching and Backstitching. . . 47 

Overcasting 48 

Running and Backstitching. ... 49 

Hemming 51 

Overhanding 53 

Garment Bias 55 

True Bias 57 

Bias Ruffle 58 

Seams 59 

Felling 59 

FRENcn Seam CO 

Overhand and Fell and Other 

Seams 61 

Application of Stitches 62 

Buttonholes 67 

Eyelets - 69 

Loops 70 

Sewing on Buttons 71 

Blanket Stitch or Flat Button- 
hole Stitch 71 

Placket No. l 73 

Placket No. 2 74 

Placket No. 3 75 

Gusset 77 

Sewing on Tape 79 



Tucking 81 

Putting on a Band 82 

Darning 85 

Outline of Weaving and Darn- 
ing 89 

Patching 91 

Hemmed Patch 93 

Overhand Patch 94 

-Flannel Patch 95 

Damask Patch 96 

Cloth Patch ' 97 

Feather or Coral and Chain 

Stitching 99 

ITerring-Bone 103 

Hemstitching. Drawn Work. . . .105 

Whipped Hem 107 

Cross Stitch 109 

Satin Stitch. Tying Fringe. .. .110 

Embroidery on Flannel 113 

Couching and Applique 114 

DRESSMAKING. 
Sewing on Braid and Velveteen. 117 
Placket and Pocket for Wool 

Dress Skirt 119 

Front of Waist, Hooks and 

Eyes 121 

Bone Casing, Seam Binding 122 

Slip Stitching 124 

Prices of Materials 125 

Suggestive List of Domestic Art 

Books 128 

Index 135 



NOTES FOR TEACHERS 



Purpose of the Sewing Course. 

This book is written for the purpose of giving to teachers the most important 
principles of plain sewing. Since there is not time in the courses in normal 
schools for each student to make every article suitable for children it is suggested 
that some practice work in stitches has a justifiable place. These exercises, if 
desired, may be retained for use in teaching, but such work, even in training 
schools, must be supplemented by numerous finished articles. Younger pupils 
naturally need practice on stitches before beginning on an article or garment, but 
such practice should be continued only long enough for them to gain sufficient 
skill for the purpose in view. The trial piece may then be discarded. It is a 
mistake for children to continue to make one stitch until perfection is reached 
before utilizing it on some interesting object. Accuracy of thought and of action 
are not gained by such vain and tiresome repetitions, but rather a feeling of ennui 
or even a dislike of the work. Teachers do not expect that each letter of the 
alphabet must be made perfectly before giving instruction on the next or before 
teaching the classes to spell. Indeed the written word is often poorly executed 
throughout life and yet is indispensable. By some unknown reasoning, however, 
many teachers of sewing insist that each stitch must be made perfectly before 
allowing a pupil to begin on a new one. Many will also require students to 
know all of the important stitches before suggesting the use of any of them to 
construct articles. The unfortunate fact is that they thus keep the pupils from 
using the knowledge they have acquired and thereby lose a powerful ally in the 
spontaneous handwork which is so natural to the child. Every one who attempts 
to teach sewing should become familiar with the stitches, by actual experience, and 
should take her own work to the classes to give ideas of correct construction and 
neat finish. These notes for teachers and the instruction under each description 
of stitches afford a basis for planning courses suited to various kinds of schools 
and to children of different ages and conditions of development. Under the de- 
scriptive sections will be found lists of materials necessary for practice and also 
suggestions for application. It is expected that each teacher will practice the 
stitches and then apply them to the making of small finished articles suitable for 
children and calculated to develop their natural activity and encourage them to 
be creative. These articles should be mounted with the practice-pieces on the 
bristol-board leaves. 

7 



8 A SEWING COURSE 

Mounting Finished Work. 

Object teaching is an important factor in the schools, and the teacher of sewing 
will find samples of her own hand work will greatly assist her in giving correct 
ideas of construction to her pupils. 

Leaves for mounting finished work are inserted in the Interleaved Edition of 
this book. The teacher or normal student may fasten on the bristol-board leaves 
the articles or models made by her. Care should be taken to arrange them effec- 
tively. The McGill's paper fasteners, No. AAi, are more satisfactory than paste, 
and two samples can often be placed on one page. Some soft colored paper, 
pasted carefully on the bristol-board improves the appearance of the articles made 
of white material. One sample can combine a number of stitches ; illustrations 
of this are a small towel with a hemstitched border and marked with initials in 
cross-stitch, with a loop of tape to hang it up ; or a flannel skirt in which stitch- 
ing, hemming, herringbone, putting on a band, a button-hole and sewing on a 
button are all used. 

The Teacher. 

Many qualities unite in the making of a good teacher. Her personality is 
most important, for her physical, mental and moral influence is ever moulding 
her pupils, even without her conscious effort. Her special training should be of 
the best. Its foundation should be cultural, supplemented by a knowledge of the 
problems of modern education, and by the ideals of her own Household Arts field. 
She should also have ample technical skill and experience. Without a professional 
preparation, she is too much handicapped to accomplish all that is possible in this 
branch of education. Furthermore, the spirit which she brings to her work will 
determine largely the character of her success. Much possible good will be unat- 
tained if her aim is simply to inspire her classes to complete a series of good models, 
or even of useful articles. Supplementary ideals are needed to make her pupils 
efficient for good in the world. Such ideals will require her to study the needs, 
characteristics and environment of her pupils, that she may develop thoughtful, 
responsible workers \\ ho have a worthy purpose to carry out. She must gradually 
bring them in touch with the problems of industrial workers also, that they may 
have an increasing desire to themselves lend a hand in the world's work. A 
teacher well prepared in her subject, with an ethical aim such as the above, will 
find the children in her classes growing into active, dependable women. 

Sewing in the Public Schools. 

Sewing was introduced into the curriculum of public schools many years ago 
for utilitarian purposes, i. e., it was felt that girls needed to know how to sew, 
and as they failed to learn at home, the public schools provided this instruction. 
Material results were emphasized and little or no thought was given to the train- 
ing of the brain through the hand. Looked at from this side alone, the work has 
much to recommend it, for it is of life-long use to the children. The object of 
the school is not, however, solely to provide a means of earning a livelihood, but 



NOTES FOR TEACHERS Q 

aims at "the full and harmonious development of all of the powers of the indi- 
vidual," that they may be used in efficient service to society. This educational 
foundation, however, should be such that it may serve, when necessary, as an 
effective basis for vocational life. Sewing may be of true worth in the curri- 
culum if it enables the pupil to help herself, inclines her at the same time to assist 
others, shows her the connection of her work with the world's industrial interests, 
and makes her sympathetic with, and appreciative of, the army of those who work. 
It frequently fails, however, of its full value through lack of breadth in the point 
of view of the teacher. The 4> Sewing Course" aims to indicate lines of thought 
for her study and reflection through which she may increase the efficiency of 
he r work. 

Self-activity and Social Service. 

Frobel's heartfelt cry of the need of training every child's natural activity if 
he would be harmoniously developed gave a new meaning to manual work. 
Psychologists studying the development of the brain, found that a complete 
education included training in action, as well as in thought. Gradually the 
entire attitude toward the training of the hand changed, as more study was given 
to its proper function in the school, and manual training is now felt to be as 
necessary in education as any academic study. The modern curriculum gives the 
opportunity to use the hand, will and mind together. A desire to be of service 
in the world comes naturally as the means for such helpfulness are increased, but 
the teacher has it in her power to develop higher ideals of social usefulness in 
each student. Sewing is one phase of manual training; it comes, or it should 
come, close to the interests of childhood and it offers innumerable ways by which 
a child may be of assistance in the home and in the school. 

The Need of Child Study. 

If sewing is to add to the mental and moral strength of the children, if a love 
of the true and beautiful is to come through it, the work must take them into 
account. The child must not be sacrificed to the model, or garment, by the 
demand of the teacher for over-accurate work, for neat adjustments at an early 
age, or for the stupid task. The interest and development of the child must be 
considered in the selection of the course. Setting her to make articles suited to 
her capacity and considered by her as worth doing is the only sensible method of 
gaining her enthusiasm and of bringing out her creative ability. The stitch 
should be taught as a means by which she may construct a definite article, and 
not as an end in itself, as is the case in the usual model work. Watch a child 
learning a new stitch, which will help her construct an interesting article. Her 
heart is in it, as the subborn little fingers are put in place, and the will power 
brought into play. Her whole body shows lively interest and she overcomes dif- 
ficulty after difficulty in her road to success. Give the same child a set of models 
to make which have been arranged by the teacher apart from the interests of 
childhood and she will become fatigued, and instead of utilizing her own will the 



IO A SEWING COURSE 

teacher will have to step in, and by urging, perhaps even scolding, keep her at 
her tiresome task. The mental and physical development of the child must show 
the teacher the sort and amount of work and the best manner of teaching. 

Children's Work. 

In early years the child should not be allowed to do fine sewing. Primitive 
nations used the needle in many ways adapted to the use of children, in coarse 
weaving; in basketry, in which more or less rigid material was sewed together 
with softer fibres, such as wool and twisted bark ; in mats, hats and baskets of the 
raffia palm fibre ; in braiding ; knotting; twining and netting. All of these early 
steps in household art make an excellent foundation for sewing, and may be used 
to great advantage in the primary grades, where the awakening power of the 
child demands work in rapid construction and large adjustments. The articles 
should be simple in construction and of a character to appeal to their interests. 
They should be worth doing. Pricked cards are sometimes used, but they are 
often injurious to the eyes. If they are felt to be a good link between kinder- 
garten and primary the simplest designs should be chosen. Coarse canvas of 
some dull color, which will not be hard on the eyes, is a good material for chil- 
dren to use. The stitches may be worked in colored wools, and prove a decora- 
tive feature. Many little articles may be made from the canvas, such as needle- 
books, markers, blotters, napkin-rings and mats. Coarse needles and coarse yarn 
should be used on loosely woven material. Dust-cloths, iron-holders, pot-lifters, 
book-covers, primitive dress, curtains and hangings for doll's houses and many 
other useful and interesting things, suited to the ability of children and through 
which they may gradually learn to use the needle, may be made with coarse 
stitches. The beginning of sewing is difficult for little hands and the use of the 
tools needs to be taught slowly. If the thimble is not constantly used at first it is 
not a serious fault. Much patience is often required on the part of the teacher 
and also of the child to attain to the correct position of the fingers and to the use 
of the needle and thimble. Neither fine work nor many repetitions of an exercise 
should be expected. Judgment and skill are of slow growth, and the demand for 
them at an early age is always discouraging to the pupil, and often positively 
harmful. As far as possible each child should prepare her own work. Finer 
and more technical needle-work may be introduced after the first few years in 
school, but here also the practicing of the stitches should be followed by their 
application in interesting small articles. The child learns better by making many 
simple things, even in an imperfect way, than from solely repeating the stitches 
until each one is perfect and then later applying them. 

Class Lessons and Drills. 
Learning to sew is a difficult task, especially in the early grades, as the man- 
ner of using the tools is hard to master. When each child in a large class is 
taught individually, the patience of those waiting for the teacher's attention is 
soon exhausted, and discipline is apt to be poor. It is better for a teacher to give 



NOTES FOR TEACHERS II 

a new lesson to the entire class at one time, and, when all have begun to work, to 
give such individual help as is needed. The ringers seem easier to control when 
the new action is practiced in unison, and many of the necessary movements may 
be taught in this way. The position of the fingers and needle in certain stitches, 
the knotting of the thread, the necessary movements in sewing, and the use of 
seizors may be so given by a judicious teacher that they are quickly learned. 
Regular drills for this purpose have been used in England, and to some extent in 
America. They are apt, however, to be too mechanical to be of as much value as 
a short attractive lesson on how to work, followed by the speedy beginning of the 
construction of some article by each child. A very few minutes at the beginning 
of a lesson is sufficient to show a new motion, while much time can be wasted in 
precise drill. In older grades, even where the teacher wishes to obtain original 
plans from each pupil, class lessons which call out thought and creativity will be 
found more inspiring than individual instruction alone. 

Finished Articles and Connected Thought. 

A course of sewing gives innumerable opportunities for the construction of 
serviceable and interesting things. Teachers need never be at a loss for appli- 
cation of any stitch in a useful article which offers excellent constructive possibili- 
ties and can be made at a very small expense. There are numerous things to 
choose from which are quickly made and simple enough in construction for very 
voting children. Mats, bags, dusters, pin-cushions, needle and pin cases, whisk 
broom and other holders, moccasins, signal flags, sails, blankets, and simple gar- 
ments or house furnishings may be made with coarse stitches, and yet be effective 
for use. An almost endless number of more elaborate things may be made by 
older children. It is well for the teacher to remember that good workers enjoy 
difficult tasks, and it is a mistake to give too easy work to older girls, who have 
had experience. A course of sewing may be so chosen that it adapts itself to 
different environments, to varied possibilities of expense, or to conditions which 
need consideration or direct assistance. 

Opportunity should be taken regularly to develop social and economic thought 
in the pupils. Such discussions may be conducted as, the kinds of material 
adapted to the purpose in hand, the values of differing fibers, the consideration of 
cost, the elimination of waste, and the condition of the workers in the regular 
market engaged in similar occupations. 

It is sometimes well for the teacher to center the sewing around some special 
subject, such as clothing to be worn by school children. Under such a topic as 
this the class can consider what is the most hygienic kind of dress, the proper 
style to use on various occasions, the best clothing at the least expense, and how 
to utilize simple decoration with attractive results. Whole neighborhoods maybe 
helped by such study. The garments may be made in large or in small sizes, 
according to the age and ability of the children, or to the time available for sew- 
ing. They can, if desired, make every piece of clothing from combination under- 
wear to hats and coats for out of door service. Other subjects, such as cooking, 



12 A SEWING COURSE 

cleaning and serving, the needs of the linen closet, historic dress, the furnishing 
of a room or house, uniforms and equipment for nurses or housemaids, may each 
suggest a new set of articles for the classes and furnish matter for discussion and 

stud}'. 

Correlation. 

There is continual opportunity for connecting a course of sewing with the 
every-day life of the children at home, at school, or in society, and gradually 
interesting them in the bettering of industrial conditions. To do this adequately 
and easily, the special teacher must be familiar with the homes and lives of her 
pupils, and must also know the aims and subject matter of the regular school 
work. By consultation with the grade teachers she will know the wisest time to 
introduce discussions connecting the handwork with academic interests. Such 
subjects as the properties and values of materials, the countries growing or manu- 
facturing them, ami the development of commerce on account of the great textile 
industries, belong to geography and history, as well as to our industrial life. 
English may be turned to account in personal or business correspondence; vocab- 
ularies of materials and industrial processes; adequate recording, oral and 
written ; and in business usages. Computations of the expenses necessary for 
making garments, the division of the income, the keeping of accounts, and the 
consideration of the cost of living, connect arithmetic with sewing. Further- 
more, the decoration of articles, the beauty of materials, historic dress, embroid- 
eries, laces and textiles are fine art as well as household art interests. The school 
should recognize these relationships and should so utilize the handwork that it 
will illustrate and strengthen the study courses. In other words, sewing has a 
cultural background which should be utilized, not only to increase the interest in 
it, but also to aid in the unification of all the school subjects by a worth-while 
correlation. Results of value can only be obtained when the teacher of sewing 
Studies all of these related fields for herself. Serious work on the part of a large 
number of the special teachers would greatly help in solving some of our greatest 
social problems. The improving of the home ; the bettering of the working con- 
ditions of women, by bringing about adequate laws concerning them; wholesome 
factory conditions, and the increasing of respect for handwork and handworkers, 
are instances of needed reforms. The regular grade teacher cannot be expected to 
do thi-* alone, for she has not studied industrial interests in her preparation for teach- 
ing. Her hearty co-operation is always given, however, to the special teacher 
who works wisely and tactfully with her. Forced, unnatural correlations between 
handwork and academic work do more harm than good. The sewing alone is of 
greater use to the children than when accompanied by encyclopaedic information 
on industries imparted to the class by the teacher and called correlation. Various 
methods may be used to interest the classes in personal investigation. Subjects 
may be set beforehand, that research may be done by the classes, and either oral 
or written work, of an original character, may follow and serve to combine an 
English lesson with one on Household Art. 



NOTES FOR TEACHERS 13 

Textile Study in the Schools. 

The Study of Textiles has been accorded a place in the curriculum of many 
schools on account of its educational, as well as its practical, value. Woven . 
materials play an important part in the every-day life with which the school 
wishes to connect. The evolution of the modern textile industries has influenced 
the development of all nations so that the history of the gradual growth of the 
primitive into the civilized world is closely connected with changes in the textile 
field. The early beginnings offer excellent suggestions for courses of handwork 
and design. In addition, the industrial and commercial aspects of history, Eng- 
lish, geography and arithmetic are made more real and valuable by using the tex- 
tile interests in correlation. This subject may serve, therefore, as a means of 
unifying the school studies. Industrial organization underlies our present civili- 
zation. Conditions which affect our industries reach our social life. The textile 
industries are especially influenced by women, and their knowledge or ignorance 
as consumers are controlling factors in the nation's industrial development. It is 
especially advantageous in every course of sewing for girls, in either elementary 
or secondary schools, to introduce textile discussions. In elementary education 
the value of personal experience in primitive textile manufacture has been ably 
presented by Professor John Dewey,* of Columbia University, and by Miss 
{Catherine E. Dopp,t of Chicago University. They advocate the reproducing of 
early industrial life in the school, that through it the children of to-day may have 
the same incentive for thought and activity which were the prime factors in devel- 
oping the race. It thus leads these children to an understanding of present con- 
ditions for which our involved modern system of factor}' work cannot be satis- 
factorily utilized. The simple carding, spinning, designing, weaving and 
decorating, as well as many other early occupations, are interesting and call for 
reasoning and creativity. Ideas of simple social conditions and of the early organi- 
zation of society are also given through such study. The children can, through 
play or dramatization, live the life of the early races, or they can reproduce on 
sand trays the entire community, with its industries and interests. In later edu- 
cation, the historic side of textiles is a part of industrial history, sociology, eco- 
nomics or other studies, and it may also connect practically with the sciences. In 
addition, valuable utilitarian ideas which will materially benefit the organization 
of the home, as well as react advantageously upon our manufacturing interests, 
may be obtained at every stage of woman's education. The knowledge of the 
physical construction of the fibers in use and of their properties will enable a pur- 
chaser to judge of their hygienic and warmth-giving conditions, as well as of their 
cleansing and laundering possibilities ; and the understanding of processes of 
manufacture will assist the student to judge of good and bad materials, and of 
adulterations, to know widths, costs, and where to find the best markets. Useful 
knowledge of this sort should not only make women better and more economic 
consumers, but should give them new standards of the beauty and service of 

* School and Society. 

t Place of Industries in Elementary Education. 



H 



A SEWING COURSE 



materials. This would tend to eliminate over-decoration and needless luxury in 
the homes. The study of factories and workrooms, and the knowledge of methods 
of manufacture will also bring about an appreciation for, and sympathy with, the 
worker, which will make for the permanent bettering of labor conditions and of 

society at large. 

Drawing and Design. 

Lessons in drawing or color should accompany the entire course in sewing. 
The simple plans of the first grade for ornamenting a little burlap mat, needle- 
case or cover, as well as the high school designs for underclothing, shirtwaists, 
hats, embroideries, gowns, and home furnishings require art appreciation. 
Drawings or color sketches should be made and applied directly to the problem 
in hand. Improved line, adequate decoration, correct placing, harmonious color 
combinations, temperance and simplicity in results should be gradually attained. 
The divorce of art from handwork is responsible for much of our bad taste, and 
as a result, the furnishings of our homes are frequently vulgar; our clothing is 
commonplace, over-decorated or tawdry, and our shops are filled with poorly 
constructed articles. The product of many of our industries is influenced entirely 
by the demands of women. It is necessary for our country's success that the 
taste and the knowledge of practical buying should be improved. The home 
worker, the seamstress, the dressmaker, and the milliner usually know little or 
nothing of art ; the teacher of design has been too ignorant of the technique of 
these industries to be of much service, and the teacher of the Domestic Arts has 
given her time to her direct field, omitting the fundamental connection of applied 
art. It is absolutely necessary that she should now give sufficient time to the study 
of design to be able to improve the art of every-day life. This will again react 
on the industries. She should either herself give the necessary art lessons in her 
classes, or be able to direct the work of the regular art teacher, so that good prac- 
tical results may be obtained. 

The Vocational Foundation. 
The early cessation of education confronts the teacher in the industrial sec- 
tions of large cities. A large number of children leave school to become wage- 
earners the moment the compulsory school years are over (about fourteen). 
Many have not graduated, but stop about the sixth school year, or even before 
that. As the usual public school courses are planned to culminate later, the edu- 
cation which these young workers have received is of questionable service to 
them in making a living. The only gainful occupations into which they can 
enter, therefore, are those which require unskilled labor. These seldom give 
good opportunities for advance, for the skilled operatives are too busy to train the 
young beginners. The result is that numbers of these children drift from work- 
room to workroom, making only a small, inadequate wage. The girls remain a 
few years in the market, but find it difficult to rise to $^.oo per week, which in 
large cities is merely a living wage. They then marry and begin homes of their 
own, but, even there, are unprepared to be economic factors. They have not had 



NOTES FOR TEACHERS 15 

handwork enough to be good workwomen, they do not think clearly, express 
themselves adequately, take hold of a difficulty with any force or initiative, and 
they are frequently untrustworthy. Their English and arithmetic seem unadapt- 
able to the needs of the trade, or the home. Their employers complain of them 
and their homes show poor management. The industries of the country, the 
homes, and society in general would all be benefited if they were given a differ- 
ent education in the elementary school. They should have a training of which 
they could make direct use, even if they do leave in the fifth or sixth grade. It 
need not be a direct preparation for wage-earning, but the teacher should plan 
her course of study according to the needs of the children in the different schools. 
It is unprofitable to give the class of work leading to entrance into the high school 
in sections of cities where the majority of the pupils will never even graduate 
from the grammar grades. In schools where large numbers of children will 
probably enter industrial life the handwork could be made an especially valuable 
factor. The teacher of sewing needs the insight and the judgment to so plan her 
work that a foundation may be laid which will be of service either in the trade 
workrooms or in the homes. She can, through the lessons in sewing and gar- 
ment making, train the girls to think clearly and quickly and to execute well. 
She should discourage all slipshod thought and work and endeavor to develop 
trustworthy natures. In districts where the children usually go to work early 
good handwork courses, offered in the sixth, seventh and eighth grades, and cor- 
related with their other studies, would often induce them to remain longer in 
school. Both parents and children value instruction which they feel will directly 
aid in life and will sacrifice much to obtain it. Such vocational work as this is 
greatly needed in city schools. The question of direct trade education is also im- 
portant. Public instruction must soon meet it, for both boys and girls, by estab- 
lishing special schools or continuation classes. The trade schools, under private 
control, which have been already started have demonstrated the value of this class 
of instruction. While the aim of the grammar grades is for a good foundation 
for life, not for specialization, the work may and should be vocational in the 
broadest sense, in localities of large cities providing workers for industries. The 
training given will thus be beneficial, whether education ends in the early grades, 
or whether it continues into the secondary schools. The fault at present seems 
to be that while the present public school curriculum is satisfactory for those who 
will continue their education, it fails to provide adequately for trade life which 
begins at the end of the compulsory school years. This subject, in all of its 
phases, should receive the careful consideration of every sewing teacher, as an 
ever increasing number of girls are going into trades which use the needle or the 
sewing machine. 

Trade School Teaching. 

If a school is seriously preparing its pupils for trade life, the following 
points need special thought : ( r ) The teacher cannot give her best service unless 
she knows the class of work and the requirements of the trade for which she is 
preparing her students. She must have practical workroom experience, either as 



l6 A SEWING COURSE 

a wage earner or as a part of her preparation for a trade teacher, if she hopes to be 
of true value to her classes. ( 2 ) The course of sewing which should be given in a 
trade class must cover all of the stitch forms and the principles of construction, 
and should also give much of the application which will be demanded of such a 
worker in the market. Discussions of the methods used in various workrooms 
should accompany the lessons. (3) The conduct of the class should reproduce 
as nearly as possible that of the regular workrooms ; skill and speed should be 
required. The girls should be taught to think quickly, to understand directions 
and to be reliable. 

The difference between manual training, technical and trade instruction is not 
always understood. The explanations which follow give some of the principal 
differences in these fields. 

The Manual Training School gives handwork with the idea of utilizing 
its power in developing or educating the individual that the hand and mind may 
be trained together and each help the other. 

The Technical School aims to help those who already know something 
of a certain class of work and wish more scientific or theoretical knowledge of it. 
It does not purpose to take the place of apprenticeship, for the technical schools 
in their highest development prepare the foreman rather than the apprentice. 
Handwork is given to explain the science rather than to fit a student to be a trade 
worker. The night technical schools, numerous throughout the country, often 
are, in reality, supplementary trade schools. Some, however, of the so-called 
technical schools partake more of the nature of the manual training schools. 

The Trade School is designed to prepare apprentices for a particular trade. 
The decadence of the old apprentice system has taken away the possibility of an 
adequate training for the young wage-earner in the ordinary work-shop. The 
trade school aims to take the place of this older form of education by supplying 
an economic instruction in the practical work of various trades. The trade 
school proper is, therefore, an enlightened apprenticeship. The main object is 
to help the wage-earner to become self-supporting in some direct occupation. 
Such schools may give all day work or they may assist those who are employed 
in workrooms during the day by offering supplementary instruction. 

Sewing in Foreign Lands. 
Sewing is a usual form of handwork throughout the civilized and uncivilized 
world. The form of the stitches varies little, but the principles of construction 
and the application in articles and garments are often entirely different. Each 
part of the world has characteristic handwork of its own. The American teacher 
who goes to foreign lands to teach and the native one, ambitious to do as the more 
civilized nations are doing, are apt to follow the usage of the schools of the United 
States or of the Continent of Europe. The better procedure would be to study 
first the articles and garments known and in use in such lands and select some of 
them for the class instruction. Such foreign stitch forms as are satisfactory should 
be adopted rather than the unnecessary details of our more elaborate system. When 



NOTES FOR TEACHERS 1 7 

our methods are needed and desirable, they can be used as supplementary to the 
native work. The life of those nations and its improvement or development 
should, however, be the basis for decision on courses of work. In some countries 
the women and girls are very deft with their fingers and many nations have 
developed wonderful crafts of their own ; these should be preserved, if possible, 
unless the best reasons exist for change. It is stupefying to foreign children to be 
given ideas of construction entirely at variance with their previous knowledge and 
at the same time, little adapted to the life they are living. 

Drafting and Cutting. 
In the elementary school it is not wise, nor indeed is it usually possible, to 
teach elaborate dressmaking. It is, however, advisable that girls from the sixth 
or seventh grade up should have some experience in cutting, fitting and construct- 
ing the simple garments they wear or that may be worn by their younger sisters 
or brothers. Drafting of pattern is frequently given to accompany garment-mak- 
ing in the higher grades of the elementary school, although its principal use is in 
the high school. It is of doubtful benefit in either when it is given with set 
dictated rules, for it does not develop independence of thought or of action. To 
be sure, each girl may through it make a pattern for herself or for another, but 
she has usually gained little in understanding how to adjust the draft to changing 
fashions or how to cut and fit easily when she is away from the teacher. The 
real service which drafting may render has been lost in such cut and dried lessons. 
The good dressmaker and the able woman in her own home do not rely on draft- 
ing to make every new pattern; they are superior to it. They can take anyone 
they have and adapt it to a new purpose. They completely cut it over or increase 
or decrease it where necessary, and obtain good results. The aim of a course of 
lessons in drafting should be to give each pupil ability of a similar character. 
Freedom from set rules and the knowledge of how to go to work is much more 
necessary than merely having a good pattern. Drafting, therefore, should be a 
means to an end, and not solely an end in itself. Through it the students should 
learn the form of the body and the way patterns are made. They should be able 
to appreciate good line, to utilize and alter any pattern so as to conform it to dif- 
ferent figures or to changing styles. The elementary school cannot go far in 
this work, but it is important that the right start should be made. A child likes 
to cut her own doll clothes, and the teacher, in even the fifth grade, can help her 
to improve upon her crude efforts and can gradually lead her to see that certain 
principles when followed, lead to exactness, as well as to beauty, of result. As 
the girl grows older, the teacher can help her to comprehend the use of the dif- 
ferent parts of paper patterns. She can gradually lead her up through the simple 
doll clothes she has cut, to the understanding of the way to draft an accurate pat- 
tern. No matter how clever a demonstrator a teacher is, she will fail to give as 
much help to her class, while explaining a draft, as will be obtained by each 
child in her own efforts toward making some pattern for her doll or for herself. 
The regular patented systems of cutting are of less value in the schools than the 



l8 A SEWING COURSE 

simple free-hand ones, for, in the former, manufactured curves take the place of 
those drawn by hand and the means of getting results are often purposely obscure. 
The free-hand drawing also leads the student to better feeling for good form and 
line. Lessons in art should be closely connected with drafting and making of 
pattern. The Professional Schools of Paris teach pattern making by the modeling 
of the material on the figure, as they feel it leads to freedom of thought, to beauty 
of line, and to personal independence and expertness. A freehand drafting system 
may be an excellent step between the free cutting of the early grades and the pat- 
tern modeling, but it must be taught intelligently. Each girl through these lessons 
should gain in ability to quickly cut and fit a waist, coat, or skirt of any kind. 
She should gain in original ideas and in the ability to utilize any picture she sees 
or pattern she may have. 

Household Arts in the Grades. 

Handwork should begin in the kindergarten and continue to each succeeding 
grade of the school. This has been realized in a large number of the public 
school systems of the United States, and courses of manual training are to be 
found at present in various phases of development, for they have been introduced 
from many standpoints. The attaining of practical ends solely and the serving 
of purely educational ideals are illustrations of these varied aims. The possible 
subjects in handwork are unlimited, but random choice accomplishes little. The 
selection should serve some worthy aim beyond the making of the mere article 
itself. 

Grade Work Based on the Industries. 

The present interest in the study of anthropology has had its effect on the 
course of study in the schools and has given an impetus to the revival of many 
primitive arts as a part of the curriculum. These are excellently fitted to the 
needs of early grades for intense interest is easily aroused in children by discus- 
sions and illustrations from the life of different peoples. The manner of living 
and the crafts of primitive nations such as the Esquimaux, the American Indian 
and the Filipino arc being carefully studied therefore, with a view to utilizing 
their simple crafts as school work, at least for the early grades. 

The Culture Epoch Theory, which was one of the educational results of the 
study of the evolution of various races, has greatly helped to develop a satis- 
factory manual training for young children. It has been largely instrumental, 
also, in eliminating the often pernicious handwork of the past. At that time 
uninteresting models or sectional parts of some article, often requiring over-fine 
adjustment, were alone to be found. This early manual training of the schools 
dealt with but one phase of handwork, i. e., manipulation, and failed to obtain 
the higher good inherent in the subject. Our more intelligent study of the child 
has shown us that such work often injured the mental, as well as the physical 
development. We have now, however, through the study of the occupations of 
primitive people, ample suggestions for real articles, simple in construction, fitted 
to the ability of the children and full of educational and social value in the hands 



NOTES FOR TEACHERS 19 

of a wise teacher. Those who have watched and taken part in this movement 
have cause for much satisfaction that manual training has been thus enriched. 
It is, however, becoming clear to the more thoughtful that the evolution is not 
complete, and that further study and investigation are necessary, that the hand- 
work may serve a still more important end than merely repeating race history. 

Grade Work Based on the Home. 

The aim in the best schools is clearly a social one. Much is accomplished 
toward this end when the child works with love and interest on something dear to 
his own life ; greater good, however, will be gained if, through the work, he learn 
to consider and assist others, and thus understand and sympathize with the world's 
work. The mere repeating of primitive arts will not accomplish this in the best 
way. The child's world is circumscribed. His home, his play, and his school 
are his world, containing all he knows of society. If he would serve, he must 
begin to do so where he can see the value of the service. The handwork sug- 
gested by the use of early arts alone often fails to connect with the life of to-day, 
or does it so indirectly that the value to the home of the increase of a spirit of true 
service is less than it may be; for, in such cases, the completion of the article and 
its connection with the past are too often the final aims of the work. The need 
of beginning early with classes of handwork which are in direct connection with 
everyday life is especially pressing in the education of girls. American life would 
be greatly benefited if they had a better conception of home life and were able to 
inaugurate improvements in home management. The strides made in industry, 
science and trade have not been paralleled by corresponding improvements in the 
methods and life of the home. The statement is familiar that the home and the 
school must be united, but very little has yet been done to really cement the union 
and cause the school to react favorably on the home. One great opportunity for 
this interaction lies in the proper use of handwork. 

The home as a goal for the use of the simple industries will yield infinitely 
more to the girl than will the mere copy of early crafts without this ideal. A 
teacher however cannot carry out this aim satisfactorily unless she has given some 
study to household conditions and to the possibilities of improvement in them. 
Strange to say, a thoughtful, scientific investigation of the entire domestic situation 
has hardly yet begun, and few teachers are prepared to deal adequately with it in 
the class work. The very familiarity of every one with home life has made its 
study difficult. It should be viewed from such standpoints as the primitive indus- 
tries once practiced there and which have been retained, or can be still utilized ; 
the art possibilities ; the repairs to clothing, furniture and utensils; the economics 
of consumption; the better management with respect to expenses and service; 
the relation of the home to society at large ; and the comprehension of, and sym- 
pathy with, the constant labor needed there. A study such as this will lead the 
teacher to see how the handwork in every grade of the school may develop indus- 
trial intelligence, and may also serve an excellent purpose in the home. In addi- 
tion it should lay a good foundation for trade life, if the girls desire to become 
wage-earners. 



20 A SEWING COURSE 

It is not possible to lay out a course of handwork suited to all conditions of 
the school or of life. The outlines which follow are suggestions for articles 
suited to different ages of children and which may be used to develop interest in 
the home and in society. Each teacher must study the environment and capac- 
ities of her children before selecting the exercises which will best serve her aim. 
She must, when possible, correlate with other subjects of the grade, and must see 
to it that the ideals she gives become actualities in the girl's life, at home, at 
school, or in her contact with the outside world. The pupil should gradually 
increase in skill and gain a wider interest in, and grasp of, her relation to a well- 
managed home and of her responsibility for conditions in the industrial world. 

Many of the articles mentioned in the outlines are as fitted to one grade as 
another, the manner of making constituting the difference. The teacher should 
select from the lists the things she desires, and supplement them with others 
which are appropriate, as there is an infinite possibility for new and interesting 
combinations. 

In the first three, or perhaps four, grades the boys and girls should be 
together ill all of their classes. The handwork should offer many varieties of 
industries, and the regular teacher should conduct the work. Later, the girls 
can continue with the household arts in a group by themselves, while the boys 
take the handwork fitted to their interests. A special teacher will probably be 
required for these later grades, for much skill and knowledge will be needed. In 
large cities a supervisor is appointed who plans the work and either teaches the 
grade teachers how to give it or has her own special staff to teach it. The lists 
given lielow are suggestions for application primarily in sewing, but also refer to 
other lines of household art handwork which are closely connected. 

Handwork for the First Four Years. 
In the first four school years the handwork should be selected from many 
fields. It should never be confined to one branch of industry. The following 
occupations all offer excellent opportunities for the choice of interesting and 
developing work for early grades: coarse sewing; cord and raffia work; spool 
knitting; crocheting; knitting (finger and coarse needle); weaving; primitive 
textile industries (cleaning, carding, spinning, dyeing, and bleaching) ; calico 
printing; housekeeping and family life; housebuilding; paperhanging ; deco- 
rating and furnishing; paper cutting; cardboard construction; pasting; drawing, 
designing and painting; basketry; clay modelling; toy and game making; wood- 
work ; festival preparation (Thanksgiving, Christmas, Washington's Birthday, 
birthdays) ; cooperative work on sand trays (such as Filipino, Esquimaux, Rob- 
inson Crusoe, keeping store and neighborhood occupations). 



NOTES FOR TEACHERS 21 

SUGGESTIVE SEWING FOR THE ELEMENTARY 

SCHOOL. 

First Grade. 

Coarse canvas mat. 
Needlebook of card-board. 
Fringed towel. 
Napkin-ring of canvas. 
Book-marker of canvas. 
Iron-holder. 
Pan-lifter. 
Broom-cover. 
Scrub-cloth. 
Dust-cloth. 
Pin-cushion. 
Book-cover. 
Desk-cover. 
Bag of canvas. 
Penwiper. 
Second Grade. 

Table cover decorated with coarse stitches. 
Making and decorating moccasins. 
Doll's blanket and bed-spread. 
Making articles for work-basket. 

Needlecase. 

Scissors-guard. 

Pin-cushion. 
Weather flags and flags of nations. 
Articles for the ironing table. 

Iron-holders. 

Cover for ironing-board. 

Clothes-pin bag. 
Bags for carrying books or for gymnasium shoes. 
Dress of primitive people. 
Pencil-case. 

Mat, curtains, hangings for doll house. 
Book-cover. 

Bead-work on chain or belt. 
Stuffed animal and doll cutting and making. 
Third Grade. 

Bags with decorations in coarse needlework. 
Sewing-on buttons. 
Mending sweaters. 
Ball covers. 



22 A SEWING COURSE 

Sails. 

Marble-bags. 
Signal-flags. 

Coarse applique for portfolio, book-cover, or table mat. 
Bag for gymnasium shoes or books. 
Braiding and decorating belts. 
Sunbonnet. 

Decorating woven material for pillow. 
Bead-work for decorating articles or for chains and belts. 
Roller towel marked. 
Coarse work-apron. 

Dress of peoples ; such as Indians, Greeks, Romans. 
Trimmed hat of raffia. 
Doily. 

Table center. 
Fourth Grade. 

(I) Articles which may be needed for use in the 

1. Home, such as simple upholstery, rugs, curtains, pillows, towels, 

washcloths, tray-cloths ; simple garments, table-covers, napkin- 
rings, button-bag, needlebook, pin-cushions, dust-cap, work- 
aprons. 

2. Laundry — such as bags, holders, covers. 

3. School — working-aprons, bags, book-covers, notebook-covers, 

pencil-cases. 

4. Play — tents, dramatic work, toys. 

(II) Repairing, mending sweaters and sewing-on buttons. 
(Ill) Decoration and art — book-covers, pillows, tray-covers, applique 1 
oil tabic and bureau-covers, needlebooks and pin-cushions. 
Fifth Grade. 

I. Sewing. 

(I) Doll's house. 

Articles which may be needed such as mattress, sheets, pillow- 
cases, cover for couch, wicker chairs, waste-baskets, curtains, 
scarfs and covers. 
(II) Doll's clothing. 

Hat, cap, sack or sweater, •underclothing and outer clothing. 

(III) Articles for baby — bib, sachet, flannel jacket. 

(IV) Home. 

1. Repairing — mending stockings 4md sweaters; patching 

clothing, cane-seating chairs. 

2. Neatness — shoe bags, laundry bags, cooking and work- 

aprons, comb and brush-cases, dusters, wash-cloths, 
clothes-pin apron, sweeping-cap. 

3. Linen closet — sheets, pillow-cases, towels with hangers 



NOTES FOR TEACHERS 23 

doilies, marking linen with ink or needle, simple letter- 
ing, napkins. 

4. The girl's own room, belts, cuffs, collars, needlecase, 

emery -holder, pin-cushion, pin-case. 

5. Supplies for emergency, flannel bag, bandages, poultice. 

6. Fitting out a work basket — pinballs or cushions, needle- 

case, emeries, scissors-guard. 
(V) Millinery — making and trimming simple raffia hats for dolls. 
(VI) School — badges and banners, school-bags for books or gymna- 
sium shoes, cooperative weaving for rug for school. 
II. Pattern making. 

Free cutting of patterns for articles, for doll's or baby's clothing. 
III. Crocheting and knitting — wristlets, caps, hoods and jackets. 
Sixth Grade. 

I. Sewing. 

(I) Aprons, cuffs and caps for cooking, embroidery apron. 
(II) Neckties, collars and cuffs for dresses, embroidered or hem- 
stitched. 

(III) Simple underclothing, combing towel or short kimono jacket. 

(IV) Towels, workbags, tray-covers and doilies embroidered and 

marked, with the needle, hemstitched cloths, doilies and 
napkins, table-covers with applique design. 
(V) Pads, sachets, small travelling-cases for embroidery silks, money, 
handkerchiefs, veils or gloves, large cases for shirtwaists or 
night-dresses. 
(VI) Costumes of historic times in small size or for dramatic work. 
(VII) Darning, patching and repairing on real articles. 
(VIII) Embroidered book-covers, table-covers, aprons, sofa-pillows, 
chatelain pocket. 
(IX) Bags for laundry, broom, shoes, sponge, or traveling. 
(X) The care of tools and supplies with holders for keeping them. 
II. Crocheting or knitting. 

Bedroom slippers, tarn o'shanter of wool. 

III. Home. 

(I) Study of rooms and their care. 

Useful things to make for them. 
(II) Care of clothing, brushing, cleaning and folding, choice and cost. 
(Ill) Textiles — materials, their cost, properties and values. 

IV. Laundry — How to launder simple pieces of table linen and embroidered 

dress decoration. Cost of laundering elaborate articles and clothing. 
V. Millinery. 

Hats of raffia, lingerie, or bought straw hats simply trimmed. 
VI. Cutting. 

Simple pattern making and free-hand drafting of articles and clothing. 



24 A SEWING COURSE 

Note. — In sections of large cities where the children will leave school early 
to go to work, it is well to give sewing which may be of immediate use to them 
either in the market or in their homes. 

Seventh Grade. 

1. Sewing and Machine Work. 

(I) Apron or bag — straight stitching. 
(II) Garment making. 

Underclothing, children's pinafores and simple guimpe dresses, 
baby clothing. 

(III) Embroidery and decorative w r ork. 

Traveling-case for money or jewelry. 
Table and tray-covers. 

Opera-glass case of leather, chamois or silk. 
Napkins and doilies, pillows and book-covers. 

(IV) Repairing, darning and patching garments of cotton and flannel. 

Darning stockinet, linen and silk. 
Repairing worn places in sleeves, under-arm and elbow. 
Frayed skirts cut and rebound, lengthening skirts. 
(V) Personal use. 

Stocks, collars, cuffs, and handkerchiefs hemstitched and 
embroidered. 
(VI) Millinery. 

Renovating of old materials, curling feathers, bow and frame- 
making, trimming. 
(VII) Cutting and fitting. 

Learning the use of bought patterns, freehand drafting, cutting 
and fitting clothing. 
(VIII) Textile suggestions — Visits to Museums. 

Embroideries, tapestries, laces and drawn-work of foreign 

nations. 
Cleansing and dyeing. 

Primitive examples of coloring, dyeing and designing. 
Visits to stores. 
Choice of textiles. 
Cost of textiles. 
(See note under VI grade outline.) 

Eighth Grade. 

I. Sewing and Machine Work. 
(I) Dressmaking. 

Summer blouse, graduating dress, shirt-waist suit, children's 
dresses and baby-clothing. 
(II) Embroidery and decorative work. 

Stencilling and block-printing in materials for book covers, 



NOTES FOR TEACHERS 25 

scarfs, hangings or clothing, lingerie embroidery for hat or 
blouse. 

(III) Making over, cleaning and repairing, ripping, cleaning, dyeing 

or renovating, recutting, lengthening and making over dresses. 

(IV) Upholstery. 

Chairs, cushions and couch-covers, repairing mattresses or 
upholstered chairs. 
(V) Cutting and pattern making — use and adjustment of patterns. 

Pattern modelling and economical cutting. 
(VI) Millinery. 

Frame making and trimming. 
(VII) Cooperative work. 

Cleaning and making over a dress, upholstering a chair, 
weaving a rug or stencilling a hanging for the school. 
(VIII) Textile and social suggestions. 

The old textiles, as used in embroideries and weavings for 
costume, historic costume, simple decorative designs, pres- 
ent costume for women (good and bad points), factory and 
sweat-shop garments, preparation for employment, wages, 
conditions. Betterment. 
(IX) The Home — Organization, improvement, accounts, how to live. 
(See Note under VI grade outline.) 

The Lesson Plan. 

Every lesson should be carefully planned beforehand that the subject matter 
may be reviewed and the best method of teaching may be decided upon. A 
teacher whose method is solely that of dictation, or else to show each pupil indi- 
vidually, will not accomplish as much as will the one who relies chiefly on class 
discussions combined with such guiding and suggestions as may be necessary. 
Clearer ideas of construction and a widening of interest in industrial questions, 
important for each child to know, will also result from a carefully prepared dis- 
cussion. This holds good even if the subject has been taught many times before. 
No two classes are alike and the best results are obtained only when a lesson has 
been planned in relation to the characteristics and needs of any group. Handwork 
becomes automatic to the expert and the details of the way by which the end was 
reached fade from the mind and often require an effort to recall. Therefore, the 
teacher should test beforehand her own knowledge of the necessary steps in the 
making of any article, that every detail may be clear. Such a review will enable 
her to choose the best order of procedure in any particular instance and to elimi- 
nate unnecessary or confusing ideas. Economy of effort follows the working out 
of the contingencies beforehand, whereas in the unprepared lesson unexpected 
knowledge or ignorance will lead to waste of time in unprofitable discussion. The 
sewing teacher should make her lesson plan as carefully as does the teacher of 
academic subjects. She should look for such results as individual initiative on 



26 A SEWING COURSE 

the part of each pupil, enthusiasm in her subject, and a gradual increase of intel- 
ligence in industrial matters. Every lesson, or series of lessons, therefore, should 
be preceded by some such survey as the following — (i) The most important aim 
to be accomplished, (2) The complete article which will best serve this purpose 
and (3) The connected thought which may add to its efficiency. A conscientious 
investigation of these points will quickly make it evident that the kind of hand- 
work which is best for any class depends on a variety of circumstances, no matter 
how good the series of exercises, which a teacher may have in mind, it will seldom 
prove of like advantage in two groups of equal age, or even in the same grade in 
two successive years. And again, if perchance the series she has followed before 
is again the best, the method of presenting the subject and the thought which 
should be connected with it will seldom be the same. Lists of articles and gar- 
ments need to be supplemented or changed continually, and the manner of decor- 
ating or constructing must also keep in touch with the present if the greatest im- 
petus to work is to come through the lesson. 

After the selection of the aim of the lesson, and the handwork best adapted 
to realize it, there remains the arrangement of the background of thought which 
she wishes to develop in the class. A knowledge of the relation of handwork to 
the world's development and, again, of each individual to the industrial conditions 
of to-day come with difficulty to the child if she must find them out for herself. 
The teacher can render valuable service by so presenting these subjects that 
interest is aroused and practical results are assured through the development of 
intelligence in every day needs. She has a wide field open to her of both cul- 
tural and industrial interests, but must choose those only which are in close rela- 
tion to her aim, which will give worth-while results, and can be dealt with satis- 
factorily in brief discussions. The short period which most schools devote to 
handwork must be well utilized, actual work in construction should cover the 
greater part of the time, leaving ten or at most fifteen minutes for all presentation 
of new subjects. 

There are many ways of giving handwork lessons. The teacher must each 
time select the one best adapted to secure the results she wishes. She must review 
in thought the knowledge already existing in the class upon which she can lay the 
foundation for her new lesson. She must plan a series of good, leading questions 
to bring out the constructive ideas she wishes, or such related facts as are directly 
needed by her. Having thus in thought prepared her ground, she is ready to sow 
the new seed, and must plan to present such salient points as will give clear ideas 
to the pupils and by the aid of which they can quickly begin on the construction 
of the new article. To aid in emphasizing the points she wishes to make she 
will usually find it advantageous to select illustrations in materials, pictures, arti- 
cles, garments, blackboard or demonstration-frame designs which she can use in 
the class. 

When a teacher has clearly in view her own many-sided aim, she is ready to 
formulate a special aim for the pupils which ma)', from the start, gain their enthu- 
siasm. The ethical, industrial or social aspects of her plan are too abstract for 



NOTES FOR TEACHERS 2*] 

them, and are for her alone. Children are interested in what they are to do, and 
she must present the subject of the day to them in a few interesting words. She 
should give it, if possible, in the form of a problem, which from the first may 
arouse their curiosity and set them to thinking. Even a dull subject may be so 
stated that it appeals to the interest of a class, and they are eager to try it. 

The necessary materials and tools must also be decided upon and made read) 
before the class hour. As the teacher reviews her subject matter and surveys 
such conditions as the needs of the quick, the backward, the new or the returning 
children she can make mental notes of her equipment needs. 

Following each lesson there must be a review of results that the next one may 
emphasize the good points or overcome the poor ones. 

As an illustration of how a simple sewing lesson may be planned in accord- 
ance with the above suggestions the following outline and running comment are 
added — 

Lesson Subject — Making of a dust-cloth. 

Grade V (fifth school year), 

Ages 9-10. Number 30. 

Ability. — Class already know fairly well such stitches as Running, Hem- 
ming, Cross-stitch and Blanket-stitch. 

Environment. — Poor section of large city where lessons in neatness and 
cleanliness are greatly needed. 

Outside Preparation. 

Materials — Cheese-cloth and other soft cotton cloth, white or colored, suf- 
ficient for the work. Some of it cut into J^-yard squares and the 
rest uncut. 
Cotton thread — white and colored. 
Zephyr (single) — m colors. 
Tools. — All necessary for cutting, measuring and sewing. 
Illustrations. — Examples of several materials which may be used for dust- 
cloths, such as cheese-cloth, unbleached muslin, and dark unfinished cotton 
cloth. Dusters finished in various ways. Blackboard or demonstration 
frame designs showing dust-cloths finished with the stitches already 
known to the class. 
Note. — The pupils are supposed to have work-boxes or bags containing 
their thimbles, needles, needle-cases, pin-cushions and, if possible, scissors. 

The Teacher's own aims : 

1 . The cutting, folding and making of a dust-cloth. 

2. The reason a well-finished cloth is better than one with ragged edges. 

3. The best materials for the purpose. 

4. Various ways a dust-cloth may be finished. 

5. Tne danger to health in dust. 

6. The way to dust. 

7. The care of the dust-cloth. 



28 A SEWING COURSE 

8. Disciplinary training. 

(i) Careful listening and thinking. 

(2) Ready, accurate replies. 

(3) Neat work. 

(4) Responsible action showing the promise of executive ability. 

(5) No waste of time or motion. 

(6) Increasing satisfaction at well-done work. 
Preparing the Class. 

A few suggestive questions — the class response will bring out further 
questions. 

How many have used a dust cloth? 

Have you cloths like this at home? (Showing various kinds.) 

Why do we have to dust? 

What is the best way to do it that we may leave the room clean? 

What need is there for care in the making and keeping of a dust-cloth? 

What materials are good for them and why? 
The Statement of the Aim to the Class. 

How main know the way they would like to make a dust-cloth that will 
work well ; look well ; wear well and wash well? 

You already know how to make the Running, Hemming, Cross-stitch and 
Blanket-stitch. Each girl may choose one of these materials for the cloth and 
select one of the stitches she knows to finish the edge. Each must give her reasons 
for the choice to the rest of the class. 

The first ones who decide and have good reasons may help me with the 
cutting, which is not yet complete. 
Tin-. Lesson. 

The Selection. — What material will each select and why? (Takes note of 
the various decisions.) 

The Cutting. Hozi< to Measure. — How large shall we cut the cloth? How 
can we lie sure the edge is straight so that we can finish it more easily and neatly? 

Accurate Folding. Holding in the Rave/lings. — -How shall we fold in or 
cover the raw edges? What stitches will best hold the edge from ravelling? 

Selection of Stitches. How to wale the ones Chosen. — Class selects and 
tells reason for choice and how to proceed with the work. The teacher brings 
the children who decide first and wisely to the cutting table (a desk will be sat- 
isfactorv), and puts them to work to complete the cutting. 

Giving out the Necessary Materials. — Will the cutters when they have 
completed that work help to give out the cloth, thread and yarn ? 
The Sewing. 

The teacher answers questions, or walks about the class noting difficulties or 
giving advice. 
The Closing of the Lesson. 

How many have completed the dust cloth? 



NOTES FOR TEACHERS 



2 9 



How many feel their work is strong and good ? 

What material have you at home which can be used for a dust-cloth? 

If you have no material at home what will you buy? How much should it 
cost ? 

How many could make one at home? 

How will you go to work ? 

Will each one lay her work on her desk and will all walk quietly about 
looking at each dust-cloth and judging of its worth? 

Questions on results. 

Careful putting away of the work. 

The Cost of Maintenance. 

The cost of introduction and the yearly maintenance of a course of sewing 
varies greatly in the different cities of the United States. The tools and the ma- 
terials can be brought from home by the children and the subject can be taught 
by the regular grade teachers, if it is desirable to eliminate all expense. There are 
many objections, however, to this method, as the materials are apt to be unsuit- 
able and the result of the teaching unsatisfactory. The subject can be made ex- 
tremely valuable, even where the children provide their own equipment, if the 
School Board can afford a good supervisor of sewing. Such a supervisor can train 
the grade teachers to conduct the work ; study the needs of the families of the chil- 
dren ; decide on course of sewing which will include the very articles desired in 
the homes, and send for samples of material from which the classes can choose, 
having computed the cost. The children can thus be taught to shop wisely, as 
as well as to work skillfully. Even the poorest families are willing to spend 
money on needed articles. The salary of a good supervisor of sewing ranges 
from $1,000 to $3,000 per annum (eight to ten months), but is a wise expense. 
In those cities where materials are provided by the Board of Education the cost 
of maintaining courses of study usually ranges from .01 to .15 per capita per 
annum. The first amount given covers only the price of needles and practice 
cloth ; the last amount, if the school system is large and the money econom- , 
ically expended, provides for much application in small articles made from inex- 
pensive material. If full-sized garments are to be made it is usual for each child 
to supply her own material. 

The Equipment. 

The necessary equipment in tools must be provided, either by the School 
Board or by the pupils. Each child must have her own thimble and a pair of 
scissors. She can make herself a pin-cushion and a needle-case. Tape measures, 
emeries, wax, stillettos, and such scissors as buttonhole, very fine cutting, or long 
shears, should also be on hand, but need not be given to every pupil. If the 
appropriation is small, the teacher can carry the tools in her supply box from 
grade to grade, thus making one set serve for all classes. Some means of keep- 
ing the work should be provided, substantial boxes are preferable to bags or en- 
velopes, as the work and tools can be kept with greater neatness. 



30 A SEWING COURSE 

A good inexpensive equipment in tools and necessary articles for a class of 
20 children can be bought at retail price for $9.00. This would purchase 

20 boxes (cloth-covered) at 7c $1.40 

1 supply box 35 

24 prs. small school scissors at I2j^c 3-°o 

6 prs. good cutting scissors at 50c 3-00 

1 pr. buttonhole scissors 35 

x /i doz. tape measures 20 

y 2 doz. emeries 20 

2 doz. thimbles 50 

$9.00 
The Sewing Laboratory. 

In the early grades of the school the sewing is usually conducted in the 
regular classrooms. A special room for the later grades is desirable, however, 
for cutting, fitting and work on large garments can be more readily undertaken. 
Such a room should be light, well-ventilated and cheery. The furniture can be 
very simple, but should be suited to its purpose. It should contain work-tables ; 
a cutting and ironing table; comfortable low broad-seated chairs for the hand- 
work ; stools for use at the cutting table ; cabinets for holding stock, or for finished 
or half finished work ; cases for the exhibition of illustrative material and for 
finished garments; sewing machines; a blackboard; a gas stove, and several 
pressing irons. It is well also to add other articles illustrative of household art, 
such as old spinning wheels, reels or winders, processes of manufacture, or repre- 
sentative handwork of various kinds. 

A useful sewing laboratory can be furnished at very small expense. To 
equip it for twenty pupils simply, but not handsomely, however, will cost at least 
$285.00. The following list will show the necessary expenditures for an adequate 
equipment. Extra exhibits and the cases for them will add to the cost, but they 
can be provided from time to time as the means will allow. 

Teacher's desk $ 9.00 

Revolving chair 2 -50 

Wooden chairs — 2 doz 24.00 

6 tables for work — long kitchen !5-oo 

4 sewing machines 120.00 

Wardrobe 35 .00 

Locker 25 .00 

6 skirt forms 12.00 

6 waist forms 3-°° 

Stove — -oil or gas 2 -5° 

3 flat irons 1.00 

Poles and curtain — for fitting room 15.00 

Long looking glass 20.00 

$285.00 



NOTES FOR TEACHERS 31 

The Annual Exhibit and Supplementary Work. 

Annual exhibits are held in many of the public and private schools. These 
serve many purposes such as (1) the encouraging of the pupils, (2) the interest- 
ing of the parents, and (3) the training of the public. Handwork is usually a 
great feature of these occasions. It has become customary, therefore, to retain 
all of the completed work of the classes until the end of the school year. This 
has an unfortunate side for it eliminates effectually any opportunity for immediate 
utilization of the articles made. It is useless to plan each article for some direct 
service to the home, or to the school, if the purpose cannot be carried out and the 
result discussed when the interest is at its height. Each school must consider for 
itself the best way to meet this difficulty. The following plans have been carried 
out in different cities. (1) Some students in each class will sew more rapidly 
than others and supplementary work mnst be provided for them. It is well to 
select, for this purpose, articles of especial interest as they serve as an impetus to 
the slower members of the class. The quicker ones can work for the exhibit by 
repeating in a more interesting form the exercises just completed or by being 
allowed to plan and to make some attractive new articles. (2) After a series of 
articles have been made in a class a vote can be taken by the members as to which 
ones will be retained to represent them at the exhibit. These few can be kept to 
be returned to the makers after the exhibit, or material can be given to each 
worker to make a similar article at home. (3) Purchasing from the children the 
work desired for the exhibit. 

Warp and Woof. 

The threads running the entire length of the material are called the warp 
threads. The woof, weft or filling threads are those which cross and interlace 
with the warp and form the selvage on each side of the goods. The warp threads 
are each as long as the cloth will be and they are put first in the loom. The woof 
thread is thrown back and forth across the width of the warp threads by a shuttle 
and is one continuous thread. The warp threads are usually stronger than the 
woof threads as they have to bear a heavier strain. This strain is apt to make 
them straighter than the cross threads, which fact can be clearly seen in the ravel- 
lings of some kinds of cloth. Garments are usually cut along the length or warp 
way of the cloth as they wear better than when cut across the goods. When 
material is torn across the warp threads it gives out a shrill sound but a dull sound 
accompanies the tearing of the woof threads. It is necessary sometimes to know 
which is th° warp way of a piece of cloth from which the selvage has been 
removed. The eye can often tell one from the other by the softer, less wiry, and 
less even appearance of the woof. The way the threads break and the sound they 
give also indicate the difference. 

Sewing for Boys. 
In the first three or four years of the school it is well for the boys and the 
girls to be taught the same kinds of handwork. The selection should be made 
from many fields and sewing (coarse) should be included among the crafts chosen. 



32 A SEWING COURSE 

Experience has proved that hoys are greatly interested in sewing when it is con- 
nected with their pursuits. Such constructive work as bags of coarse canvas for 
shoes or books, ball covers, sails, flags and badges, moccasins, sweater mending, 
sewing on buttons and simple repairing are illustrations of interests which con- 
cern both boys and girls. As sewing is one of the most important of the indus- 
tries it is well for boys to gain some practical experience of its difficulties as well 
as of its usefulness. They will thus be better prepared to appreciate the condi- 
tions of labor in occupations employing the great mass of wage-earning women 
as well as large numbers of men. Sewing, itself, will also prove useful to them 
now and later and the class of neat adjustment which it requires has proved ad- 
vantageous as a preliminary training of the hand for many of the skilled occupa- 
tions of men. 

Illustrations on the Board or the Frame. 
The blackboard mav be of much assistance in the presentation of a lesson. 
An illustration of the way a stitch is made, or several designs for an article may 
lie drawn by the teacher before or during the class period. The illustrations in 
the Sewing Course are for suggestions for board work. Any teacher can train 
herself to do this simple drawing, even if she has had no art training, but a 
trained hand can make such illustrations a powerful ally. The demonstration 
frame offers another means of showing the way a stitch is made. It is a large 
embroidery frame, covered with coarse canvas and raised on a standard so the 
i lass can see it. The teacher makes the stitch on the canvas in large size with 
colored wool as she describes it. Such frames can be made easily by any car- 
penter or by boys who are taking manual training. 

Different Ways of Making Stitches. 
Opinions differ as to the best way of making many of the stitches. The 
teacher should know all of these methods, but it is not necessary for her to con- 
fuse with such details the minds of children who are learning to sew. In giving 
a new lesson, she should select the form of stitch which she prefers and teacli 
that. If it happens that any one of the class has already learned to make the 
stitch in a different, but satisfactory, manner, it is better for her to continue to 
work in the way to which she is accustomed. When older students are prepar- 
ing for teaching, or for trade work, they should consider the various methods of 
procedure, as they may be called upon to know them in their chosen vocation. 
I. eft -handed children, unless corrected very early, would better continue to use 
their left hands, unless the teacher desires to make them ambidextrous. 

Neat Finish and Rapid Work. 

Beginners should work slowly at first but dawdling should never be allowed. 
The teacher must herself discover the best way to keep each class sewing indus- 
triously. In some groups the setting of a time limit for the completion of articles 
is an incentive, while in others the very impulse to rush through is followed by 
slackness and poor results. The finish of each exercise must be as beautiful as the 



NOTES FOR TEACHERS 33 

child should or can do. Frayed edges and unfinished interiors are not only ugly 
but indicative of a lack of care in the worker. The most simple article may have 
the beauty of neatness, and even a child can be trained to see it. A class should 
learn to work well without any waste of time. Rapidity is desirable if the result 
can be satisfactory. 

The Tape Measure. 
The use of a tape measure or a rule should begin early. Very young children 
can be taught to make their own measures by marking off the divisions on strips 
of paper or bristol board. They can keep the accurate ones in their workboxes 
for use later. Older girls should gradually learn to depend upon themselves when 
small dimensions arc required. This is especially important when such students 
expect to enter any of the trades requiring careful measurements. Such accurate 
judgment leads to economy of time which has frequently a money value. 

Length of Thread. 

Children usually take too long a thread in sewing. They must be taught the 
right length, which is about one half or three quarters of a yard, though in bast- 
ing a longer thread is advisable. The usual directions are to measure the thread 
from shoulder to shoulder, or across the body from waist line to shoulder, or from 
the end of the finger to the elbow. The thread should never be bitten off, for it 
harms the enamel of the teeth. Fine cotton thread may be broken, but coarse 
thread would better be cut. It is well therefore for every child to have her own 
scissors in her workbox. 

Fastening the Thread. 

As children seldom make knots neatly, they should be taught how to fasten 
the thread strongly without them. The knot, however, should be practised, for 
it is necessary in basting, overcasting and gathering, and useful always. A small, 
well-made knot, concealed in the material is permissible. Skilled workers usually 
prefer to use them as it saves time. 

Position in Sewing. 

The position for sewing is an upright one, bending the body forward from 
the waist, if necessary, but never hanging the head downward to the work. 
Physical injury results from such an attitude, and it is also impossible for a pupil 
to be as attentive and alert when sitting in a slouching position. 

Cleanliness. 
Clean hands and clothing should be obligatory in sewing classes, for good 
work may be spoiled by lack of neatness. The teacher of sewing should take 
occasion to discuss hygienic living, and should train her pupils to realize the direct 
moral effect of care and cleanliness of person and product. 



CARDBOARD SEWING 35 



No. 1. CARDBOARD SEWING. 

MATERIALS FOR PRACTICE. 

Cards. Coarse Wool Tapestry Needle. 

Cotton or Linen. 

Application — Needleease or blotter. 

Designs pricked on cards and followed by the needle are often used for 
the first steps in sewing. In this way a child may begin to use the tools and 
gain control of her muscles. "When they are utilized, scope should be given 
for simple creative thought in the decoration of the work and in the planning 
for its use. This may be the foundation for the designing of simple articles 
for dress or for household use, and also for cultivating taste in every-day life. 
In the kindergarten this class of sewing is frequently seen. In the first 
primary grade the children are generally ready for a step beyond, but card- 
board may have its use in recalling the work of the previous year. In the 
kindergarten the threading and knotting are usually done by the teacher, but 
in the primary grades the children can gradually learn to rely upon them- 
selves. 

Cards in varying sizes and colors are on the market already pricked, 
or the teacher can prepare her own cards. Pricking pads and needles can 
be purchased. Any simple design made by the teacher or the children may 
be used. Running, stitching and cross-stitch are good ones on the cards. Knots 
must be used to hold the thread. The teacher may have to fasten off, as this 
is often too difficult for children. 

Practice. — Take two cards with a simple design on each; carry out 
these designs with one of the simple stitches. Fasten off by tying a knot 
in the wool and letting it slip up to the hole ; or else put the needle through 
the last stitch on the wrong side in such a way that it will tie the wool into 
a knot. 

Suggestion. — Very pretty needle-books can be made by enclosing soft 
flannel leaves between the cards. The leaves may be pinked on 
the edges or finished with the blanket-stitch. Blotters, bookmarkers, book- 
covers and penwipers may be made in a similar way. The teacher should 
encourage the making of original designs and plans for attractive and useful 
articles. Children are full of devices and only need encouragement and 
direction to express themselves adequately. 



CANVAS WORK 37 



No. 2. CANVAS WORK. 

MATERIALS FOR PRACTICE. 

Burlap, Java, Colored Zephyr, Tapestry Needle. 

or some similar canvas. or wool. 

Application. — Mats, rugs, bookcovers, bags or needle-books. 

Soft, coarse canvas is an excellent medium on which to teach young chil- 
dren how to use the needle, as it does not require too careful work for them. 
The form of the stitch can be studied, decorative effects can be easily secured, 
and very attractive, useful articles can be made from it. 

Suggestion. — In the first grade burlap canvas may be used as the first 
textile. Numerous articles may be made out of it. Stitches may be used to 
decorate it attractively; if it is to be fringed, the form of the overcasting- 
stitch is good ; it may be worked on the burlap and the edge fringed afterward. 
The blanket-stitch may be used where the edge is to be kept from raveling. 
Several rows of running-stitches and cross-stitches make an attractive border, 
or other stitches may be used for this purpose. The stitches should always 
be coarse. In canvas where the holes, though distinct, are near together a 
number of holes should be skipped. Soft canvas is better than tightly twisted 
stiff canvas. Java canvas, in some soft color, may be used late in the first 
year or in the second year; needlebooks, penwipers, portieres, tablecovers or 
postal-card cases, may all call forth ideas worth carrying out. Suitability of 
color, decoration and material to the object in hand should be a prominent 
feature in the lessons. 

Class teaching is an advantage, for all may thus have a feeling of common 
purpose and be aided by the free expression of opinion; even though the 
general class exercise is the same, individuality may be constantly appealed 
to in carrying out designs or in the selection of the kind of article which will 
be made of the canvas. 



WEAVING 



39 



No. 3. WEAVING. 



MATERIALS FOR PRACTICE. 



Cards (two) , 4x2% Inches. Double Zephtr, 

oe Wool. 



Flat Bodkin, or 
coarse Tapestry Needle. 



Application. — (1) Cards ready for weaving can be purchased or the 
classes can prepare their own cards in connection with their number work. 
Rugs, bags, hoods, muffs and sweaters can all be woven on cards by slignt 
changes in the shape of the cards. (2) Simple looms of wood can be made 
by any of the early grades. Portieres, rugs, hammocks, covers and mats can 
be made. 

Use. — Weaving is adapted to the ability of even very young children. 
They are interested in the process and also in its connection with the manu- 
facture of their clothing. The method of darning worn material can be 
taught through weaving. 

This subject may be made valuable to various grades of children, and if 
rightly presented will serve to increase thought as well as skill. The teacher 
should understand the principles and simple terms of weaving that she may 
develop clear ideas of processes of construction and widen the interests of 
her class. 

Practice. — First Card. Prick at both ends of one of the cards ten or a 
dozen holes which shall be directly opposite one another. Thread the needle 
with wool and make a knot in the end of it. Bring the bodkin or needle 
through the card in the first hole at one end, and then take a stitch across 
the card to the hole opposite. This will make a long stitch across the face 
of the card. Take a short stitch on the back into the next hole, and again 
across the card in a long stitch; continue this until all the holes are filled, 
and then fasten off the thread. These long stitches represent warp threads, 
or the threads which are placed first in the loom. The woof, or filling, is 
now to be put in. Begin at one end, going under and over the warp threads, 
until the warp thread on the other side is reached ; return by going over the 
last warp thread, and forming the selvage, and alternate the stitch across 
to the place where the woof began, continue going back and forth, pushing 
the threads close together to make a solid piece of cloth. Be careful to keep 
the cloth the same width. 



c .j: 

( _jrt 



.::> 



.:-) 






Fig. 1 — Twill Weaving. 



Fig. 2 — Pattern Weaving. 



40 A SEWING COURSE 

Second Card. Prepare the second card the same way as the first, but 
increase the number of holes. Put in the warp threads as in the first model; 
the woof or filling should now be inserted in such a way over and under the 
warp threads that a pattern may be formed. See Figures 1 and 2. A simple 
twill may be used. Pattern is the result of the way the woof threads inter- 
sect the warp. Simple alternation does not make a pattern. Let each teacher 
make a design of her own; she can practice first, if she wishes, with the cut 
strips used in kindergarten weaving. When she makes a design she likes 
she can use it on the second card. The warp threads can be a different color 
from the woof. Several colors can be used. She can mount the two woven 
pieces on the bristol board pages with or without the cards. 

Suggestion. — Primitive races began some form of weaving early in their 
development. Such elementary hand work can be adapted readily to chil- 
dren and the product is interesting and useful. The looms should be simple 
in construction and very plain weaving with coarse threads should be attempt- 
ed at first. Soft loosely spun threads, such as rug yarn, roving, which can 
be bought from spinning mills, or lamp-wick make good woof threads. Chil- 
dren who have woven strips of paper in the kindergarten will easily under- 
stand how pattern is made. The teacher should discuss with her classes the 
making of different kinds of cloth. Pieces of loosely woven material or can- 
vas should be ravelled out by the children that each may see the way the 
threads cross each other. Examples of full width cloth should be at hand 
to illustrate various patterns and the selvage. Each child should note the 
warp threads, running lengthwise of the goods; the cross or woof threads, 
which bind the warp threads together and which in turning back form the 
selvage at the side. Such simple terms in cloth construction as warp beam, 
cloth beam, shuttle, harness, heald, heddle, batten, and treadle should be used 
from the first. Knitting, as used in the manufacture of sweaters and stock- 
ings, should be contrasted with weaving. Little knitters can be made of 
large spools with pins or thin nails surrounding the hole at one end. Toys 
like this can be purchased by any teacher if she has never seen one of these 
devices and the children can be taught to make their own. It is a customary 
thing for children to make such knitters and to use the product for horse- 
reins or for mats. The knitting is done by passing zephyr or yarn through 
the spool to the end containing the pins, and then by winding it twice alter- 
nately around each pin and again once around outside of all of the pins. The 
material is made by taking the loop on each pin and slipping it over the head 
in regular succession and by passing the worsted around the outside of the 
pins whenever a complete circuit is made. Lessons in weaving and knitting 
should be always connected with the manufacture and darning of clothing. 
Weaving may be practiced first on cards: simple or elaborate patterns can 
be made as desired. Each child should, however, try to make a pattern of 
her own. For later practice an old slate frame, from which the slate has 



WEAVING 



41 



been broken, may serve for the loom by putting small brads or nails along 
either end, stretching the warp threads back and forth on these and by weav- 
ing in the woof threads across. The first or second grade pupils can readily 
make for themselves wooden looms like the frames. A sample of each of the 
various card looms, on which such articles as muffs, hoods, sweaters and bags 
are made, can be purchased by the teacher. Each child can be taught to 
make similar looms from these simple cards. Third and fourth grade chil- 
dren often find great interest in making looms and in weaving the articles. 
More elaborate looms for plain cloth can be made in an oblong box. A couple 
of sticks or spools are placed at each end, to represent the beams on which 
the warp thread is fastened. A hcddle can be made of a stiff visiting card 
with a series of alternate slits and holes cut in it for the warp threads to 
pass through before they are fastened to the cloth beam and after they have 
been attached to the warp beam. 

The heddle has as 
many slits and holes 
as the cloth is to have 
warp threads. After 
the threads are fast- 
ened to the warp 
beam every other one 
is passed through a 
slit and the alternate 
ones are threaded 
through the holes. By 
pressing down or 
drawing up the hed- 
dle the sheds are 
made through which 
the woof threads are 
passed. After each 

woof thread is insert- 
Fig. 3-A Cardboard TIeddle. ^ ^ fhreads ghould 

be battened or pushed together to make a solid, even cloth. This can be done 
with the heddle or with a comb or with a coarse needle. A shuttle can be 
made of a stick or a piece of card on which the woof thread can be wound. 
It will pass between the separated warp threads. Small looms for school can 
be purchased. 

The Todd Hand Loom— $ .30— $1.00— Minneapolis, Minnesota. 

The School Loom — $1.50 — Domestic Art Department. Teachers College, 
New York City. 

The Hooper Colonial Loom — $ .75 — Milton Bradley Co., New York City. 

These looms are useful for demonstrating the subject to a class. If a 
teacher cannot make her own, it is well for her to purchase one of those 
already on the market or to have some one who can work in wood make one 
for her. It is always better for the classes to make their own either as a 
co-operative or individual exercise. 



o o o o 



42 A SEWING COURSE 

No. 4. FOLDING A HEM. 

MATERIALS FOR PRACTICE. 

Crinoline or Paper, 5x5 Inches (2 pieces). 

Application. — Duster or "Washcloth. 

Rule. — A hem is made by folding a piece of material twice over. The 
depth of the first turn depends on the material ; it should be just deep enough 
to secure it from fraying. In fine muslin it may be less than Vs of an inch ; 
the second turn is regulated by the requirements of the garment for which it 
is prepared. In order to turn a deep hem accurately, a gauge or a card 
notched at the proper depth may be used. A fold is held in place as it is 
turned by creasing it with the finger and thumb, or if this stretches the cloth, 
it may be folded between the fingers and pinched. The material should be 
held up in the hands as the folding and creasing are done, and not laid on 
a table or desk. In a narrow hem the second fold just covers the first. Square 
corners should fold one over the other. In a wider hem the corners may either 
be squared or mitered. If the former, and the material is thick, an oblong of 
cloth should be cut out, as in preparing for Miter No. 1. If the latter, see 
Miters No. 1 and No. 2 below. 

Practice. — Take two pieces of crinoline or paper, fold a narrow hem 
(hi each side of the four sides of one piece, and a half inch hem on each of 
the four sides of the other piece. Turn two opposite sides before folding 
the other sides over them. This will make regularity at the corners. Miter 
the two diagonal corners of the wide hem. using Miter No. 1 for one corner, 
and Miter No. 2 for the other. Cut an oblong from under the square corners 
of the wide hem. 

Suggestion. — The folding of hems may be given to little children. It 
is well for them to understand the tape measure and make one for themselves 
before they begin the folding. The marking and folding must be done care- 
fully. Manila paper or crinoline are good for the first practice. The paper 
should be raised in the hands for folding. Samples of woven material which 
may illustrate to the children the varying depths which must be allowed in 
the first fold of the hem. on account of the fraying of the cloth, will help to 
make this lesson interesting and useful. Dusters of cheesecloth can be made 
by the first and second grades. The folds can be held sufficiently well with 
the coarse running-stitch made with wool or zephyr. The older girls should 
use the various miterings (No. 5) at the corners of the pieces on which they 
practice the folding. 



No. 5. MITERING. 

MATERIALS FOR PRACTICE. 

See Nos. 4 and 6. 

Application. — Dust-cloth, doiley or holder. 

To miter is to change a fold from having a square end at the corner to 
an abrupt angle in which one fold will exactly meet the one at right angles 



MITERING 43 

to it. The superfluous material may be cut out after the hem has been aceu- 



! l-A- 



! / 



Fig. 4. — Two Forms of Miter. 



Fig. 5. — Mitered Corner. 



rately folded. The name is derived from the miter or high head covering 
worn by certain church dignitaries. 

No. 1. By cutting an oblong from the under fold and then turning back 
the corner into an abrupt angle (see Fig. 4, a). 

No. 2. By cutting a triangular piece from the muslin at the corner, the 
base of which will be % of an inch above the meeting of the creases made by 
the top folds of the hem. Turn clown the i/8 °f an i Qen mentioned for the 
first fold. The sides of the mitered part may exactly join, or one side may 
lie under the other (see Fig. 4, 6). 

Practice.— See folding; hemming; overhanding. 

Mitering may be applied in any article where the corner is formed by 
one hem folding over the other. It improves the appearance of corners by 
removing unnecessary cloth. 



44 



A SEWING COURSE 



Nos. 6, 7 and 8. RUNNING. 

MATERIALS FOR PRACTICE. 

Unbleached Muslin White or Colored Cotton, Needle No. 8. 

6xV 2 Inches. No. 60 or 70. 

White Muslin White Cotton, No. 80. Needle No. 10. 

5x2y 2 Inches. 

Application. — Duster (See No. 4). In combination with other stitches 
(See No. 23). 

Use. — For basting, joining breadths of material, gathering and tucking. 

Fitness. — It is rapidly executed, strong enough to be used in a seam 

where the strain is not great, of a form which enables the materials to be 

drawn up on a thread as in gathering, and easy of removal, as required in 

basting. 

Varieties op the Stitch. — Plain running whether large or small ; bast- 
ing, regular and irregular; gathering, including gauging and shirring. 

Rule. — For Plain Running. Each stitch and space must be of the same 
length; the stitches follow each other consecutively; the number of threads 
taken ii]) by the needle depends on the stuff used, and the required fineness 
of the stitch. For very fine running, as few as two threads of the material 

may be taken up. It is not neces- 
sarj', however, to count the threads ; 
the eye may be trained to judge 
the correct length. The position 
for holding the work is with the 
thumb and first finger of the left 
hand, while the needle is inserted 
with the right hand. The thimble 
should be against the needle, the 
thumb pressed on the needle, and 
the first finger back of the needle 
on the other side of the cloth. The 
left hand pushes the cloth on the 
needle. When proficient the 
needle is seldom removed from the 
cloth during the progress of the 
work. Unless the knot can be made 
very small and can be well con- 
cealed, it is better to begin with- 
out one. In the latter ease take a double stitch which may be covered by 
the first stitch showing on the right side; finish off with a double stitch on the 
wrong side in the first space back of the place from which the thread comes 
out ; this will strongly fasten the thread under a stitch and will therefore 
not show on the right side. 

Rule. — For Basting. To hold together two or more pieces of material 
until a strong stitch can secure them. Begin with a knot. (1) Regular bast- 
ing is plain running made with large stitches. It is used where careful 




/ 



Fig. 6.— Running, Gathering and 
Basting. 



RUNNING 45 

basting is required (See Fig. 6, a). (2) Irregular basting. The first variety 
of it is used for preparing for further sewing either by hand or machine, 
where there is little danger of the material slipping apart and a straight line 
of direction is of benefit. The stitch consists of one very long running stitch 
showing on the surface, and a short stitch taken through to the surface again 
(See Fig. 6, 6). The second variety of irregular basting is used when the 
cloth or some heavy material is to be basted together for machine or hand 
work. It is stronger than the first variety mentioned. The stitch consists 
of one very long running stitch and two or more short running stitches. The 
third variety of irregular basting (see Fig. 6, c), is used in dressmaking, 
especially in holding material to the lining. The stitch consists of one long 
slanting stitch on the surface and a short slanting running stitch through 
the material. The position of the hand in basting is very free as the stitch 
is long. It cannot be held as for fine running. 

Rule. — For Gathering. To draw up material on a previously inserted 
thread. By this means fullness may be inserted into a narrow space. In 
certain garments width of material is required to give the limbs full play, 
but to keep the garment in place the material must be confined within nar- 
row limits. This is accomplished in gathering. (1) Regular gathering is 
a plain running stitch. Two or more lines of running stitches of the same 
size may be so placed that the stitches in one line are exactly above or below 
those on the other line; when drawn up this form of gathering is called gaug- 
ing. Two or more lines of running stitches of the same size may be placed 
one below the other with no attempt to make the stitches in one line fall 
directly under those in the line above. When this form of gathering is drawn 
up it is called shirring. (2) Irregular gathering. When the material is to 
be stroked after gathering, or when a large amount of thick material is to 
be brought into a small compass, an irregular running stitch is better than a 
regular one (see Fig. 6, b). For stroking twice as much material should be 
covered by the needle on the right side of the material as is taken up by the 
needle. In very fine material short stitches should be taken ; it facilitates 
the work of gathering if previous to taking the stitches, the edge of the 
material where the stitches are to go is turned down and creased. Make a 
knot in the thread and take through the crease the irregular gathering stitch ; 
when this is finished the gathers must be placed. Draw up the gathering 
thread tightly, and secure it around a pin. Begin at the left side, and with 
the fingers place the gathers as neatly as possible ; then take a coarse needle 
or pin and carefully stroke every gather straight along the woven threads, 
pushing it under the left thumb and forefinger and pinching it; no scratch- 
ing noise should be made, as this shows the material is being injured. The 
upper part of the gathers must also be laid in place. In some materials 
the hand stroking is sufficient. The thread should be a little longer than 
the length of the part in which it is finally to go (when a long gather is to 
be made, as for a petticoat, the material should be divided into four or more 
parts and a new thread taken for each part). Fine thread doubled is better 
for gathering than one single coarse thread as the two are less apt to break 
than the one. 

For dress skirts, gathering is often done on single or double material 
which is quite thick. In this case two or more lines of irregular gathering 
stitches may be taken, the stitches in one line being directly under those in 
the other, and the gathers drawn into the length of the band without need 
of stroking. The stitch will consist of a small amount taken up by the needle 



46 A SEWING COURSE 

and a large space covered by the needle so that the cloth will be drawn up 
in the folds. 

Practice. — Basting. Take the square of crinoline folded into hems on 
its four sides (see No. 4), and baste down the hems with colored cotton or 
take a piece of unbleached muslin, 6x3^ inches, turn one raw edge along the 
length into a i/o of an inch hem and then turn the same sized hem on the 
two short sides, making the corners square or, if desired, using the miter (see 
No. 5). Baste this hem all around near the edge of the fold with an even 
basting stitch* Across the raw edge of the practice piece of unbleached mus- 
lin, 14 of an inch from the edge, make a line of fine Running Stitches. Do not 
fasten off the thread, but cut it one inch from the last stitch. Put a knot 
in the end and let it remain in that way. Put in another row, % of an inch 
below the line of fine running. See that each stitch and space in the second 
line is directly under the stitch and space in the top line. This will indicate 
the way gauging is done. If more practice is desired in basting, two long 
strips of unbleached muslin may be basted together with the irregular bast- 
ing stitch. 

• Withering. Take a piece of white muslin, 5x2 1 /2 inches, turn down the 
raw edge about x /± of an inch from the top and crease it so as to show the 
line along which the gathering thread is to run. Double No. 80 white cotton 
and put a knot in one end. Take through the creased line an irregular 
gathering stitch (see Fig. 6. b), covering over less than % of an inch and 
taking up about one-half of that amount. This will prepare for fine stroking. 
Draw up the thread and stroke according to the rule for stroking. 

Suggestion. — Running is one of the easiest stitches for little children to 
learn. They can make it first on canvas with wool and a tapestry needle in 
some attractive design (see No. 2), later they can do coarse running or bast- 
ing on muslin with cotton thread. The stitch is strong enough to make a 
duster or washcloth by holding the hems with wool or heavy thread or it 
can be used for seams and hems in soft materials and thus enable the chil- 
dren in early grades to make simple little articles, doll's clothes, or primitive 
dress. Every lesson should mean something to the children — i. e., basting 
should not be a mere comparison of the forms of the stitches which may be 
useful for teachers, but is of little help to children, but they should actually 
baste in the way such work should be done. The younger pupils can baste 
together material for the older ones to sew on the machines. The running 
stitch can be used in combination with other stitches in such articles as aprons 
or bags (see No. 23), and can also be used for gathering. It is always diffi- 
cult for young children to take more than one stitch at a time, but they 
must not thrust the needle in and out as they would in cardboard, but learn 
to slip it along easily. 

The running stitch is often taught by following outlines of objects traced 
upon muslin — this is not as good a way as those already mentioned, for it 
does not give the correct use of the stitch. Elaborate, pictorial outlines, fol- 
lowed by a fine running stitch are hard for the eyes, unnecessary, as the 
moment the work can be done satisfactorily for the age and development of 
the child, something new should be attempted, and a bad lesson in taste, as 
the decorative elements are unsatisfactory. 

'Colored cotton may be used for basting in the first practice piece of the running stitch, 
if it is desirable for the eye to see the regularity. Basting which is to be taken out should not 
be made with colored cotton, as it is liable to crock. 



STITCHING AND BACKSTITCHING 47 

Nos. 9 and 10. STITCHING AND BACKSTITCHING. 

MATERIALS FOR PRACTICE. 

Bleached or Colored Cotton, No. 60. Needle, No. 9. 

Unbleached Muslin, 
4x2y 2 Inches (2 pieces). 

Application. — Beanbag or pan lifter. See also Nos. 21, 22, 23. 
Use. — "Where strength is required for seams, holding bands, tapes and 
hems. The stitching stitch is also used ornamentally. 

Fitness. — As double stitches they are strong and adapted to purposes 
where durability is required as in seams. 

Rule for Stitching. — The stitch is worked from right to left on double 
material. First baste carefully together the two materials; the basting may 
serve as a guide to the worker, and also keep the materials from slipping apart. 
A seam should be made far enough from the edge of the cloth to avoid the 
danger of raveling. Begin by a small knot or by a few running stitches on 

.,,,,,,,,, the wrong side, which 

maj r be held down later 
by the stitching stitches, 
and bring the thread to 
the right side of the ma- 
terial about y$ of an 

p IG 7 Stitching. doth wnere tne wor k * s 

to begin. Take a short 
stitch back on the upper side of the cloth and a stitch twice as long forward 
on the wrong side. "When the thread again comes to the surface make a stitch 
back to meet the stitch already made. The effect on the right side is a series 
of short stitches, one meeting the other (see Fig. 7, a), and on the wrong 
side a cord-like effect, made by the folding over of the long stitches (see Fig. 
7, b ) . This is especially the fact if the stitch is made very carefully. Hold 
the work over the first finger of the left hand, and slant the needle toward 
the left shoulder. 

Rule for Backstitching. — The same rule applies to backstitching as to 
stitching, except that the stitches on the right side, instead of exactly meeting 

have a space between as they 
==«====.==«=== = = go but half way back (see 
Fig. 8). This makes the 
stitch on the back three times 
the length of the one on the 
p IG . 8 _ Backstitching. right side. The names of these 

stitches are often confused, 
as the terms are used indiscriminately. The explanation is given that the 
name of the stitching stitch was originally backstitching, and the other stitch 
was called, half -backstitching ; for brevity each stitch was relieved of half its 
title, and confusion of ideas resulted. 



48 A SEWING COURSE 

Practice. — Take two pieces of unbleached muslin, 4x2% inches, baste 
them carefully together into a seam % of an inch from the raw edges. Make 
a line of stitching one-half way across in colored thread, directly above or 
below the basting line. Let the stitches be small enough for strength, but 
large enough for their regularity or irregularity to be distinctly seen. Hav- 
ing made one-half of the seam with stitching, the backstitching may be used 
for the other half, so that the appearance of the two stitches may be compared. 

Suggestion. — It is not necessary at first to insist that a beginner should 
make the stitch mechanically perfect. If it is even and strong enough for its 
purpose it should be accepted and utilized on an article. Stitching is an 
attractive and simple stitch on canvas, and can be thus given to young pupils. 
They should notice the rope-like effect at the back and also that it may be 
marred by a change in the way the needle is inserted. Care in this coarse 
avi irk will help in gaining the technical skill needed later. Stitching is not 
difficult, for the movements are simple and practice soon renders them easy. 

Coarse, soft, unbleached muslin is good for practicing the stitches. A 
basted or creased line may help in the first attempt to make an even Beam. 
A pencil line, a stamped stitch or a drawn thread should not be used as a 
guide, for the judgment of the children should be trained. It is better for 
them to make mistakes and correct them than to be given helps which do not 
develop their own powers. The stitch should be utilized as soon as it can be 
made sufficiently well for a seam, as the skill needed will come better through 
making some article than by many repetitions of the practice piece. Doll's 
clothing, clothing cases and bags of various kinds may be made. 



No. 11. OVERCASTING. 

MATERIALS FOR PRACTICE. 

Raw Edges of the Practice Pieces. Cotton No. 60. Needle No. 9. 

Application. — On the seams of articles or garments. See No. 23. 
Use. — To keep the raw edges of materials from raveling. 
Fitness. — The form is adapted to hold threads from raveling without 
making the raw edge stiff. 

Rule. — The stitch is loose and slanting, and taken over the raw edges of 
material. It is made usually from right to left (some prefer to make it from 
left to right). The stitches are of equal size, the depth and distance apart 
depend on the character of the material, the object is merely to keep it from 
raveling (see Fig, 9). Begin with a knot. In seams conceal it between the 
raw edges. Hold the work over the first finger, or the first and second fingers 

of the left hand. Place the 
needle over the raw edges 
and through the material, 
slanting it toward the left 
shoulder. The stitches should 
always be the same distance 
from the raw edge and the 
same distance apart. When 
a new thread is necessary, in- 
sert the needle as if to take 
Fig. 9. — Overcasting. a new stitch, withdraw it, and 




OVERCASTING 49 

fasten off on the wrong side where the hole was punctured by the needle. 
Begin the new thread with a knot, insert it between the raw edges, and bring 
the thread to the right side where the punctured hole was made and continue 
the stitch as though it had never been interrupted. When turning a corner, 
put the first stitch around the corner in the same hole as the previous one; 
this will make a V-shaped stitch in the corner and a neat turn. 

Practice. — On any of the former practice pieces. Let the stitch be 
small, and as far apart as will be consistent with the danger of raveling. 
Seams may be overcast together or separately; in the latter case the seams 
should be pressed apart after the work is completed. Overcast bias seams 
from the wide end to the narrow, as they are thus less apt to ravel. 

Suggestion. — Overcasting is an attractive stitch on canvas; it is easy 
for little children to learn and may be used by them on burlap mats to keep 
the fringe from raveling. It is better to make the stitch before fringing out 
the burlap. The blanket stitch may be contrasted with overcasting as a 
means to hold raw edges. It is well to give the children a choice in the way 
of finishing mats. 

It can also be used in making an iron holder or pan lifter. Take two 
squares of denim, turn narrow folds y± inch on the four sides of each so 
that when the two squares are laid one upon the other they will match in 
size, lay a piece of woolen cloth or thin ingrain carpet between the two pieces, 
baste them together, so that the raw edges are inside, with large stitches. 
Overcast the two pieces together using coarse linen thread of a contrasting 
color. After the stitch has been made on all four sides, return in the opposite 
direction, thus making a coarse cross-stitch. In the pan lifter sew a piece 
of tape about y 2 a yard long to one corner with the stitching or overhanding 
stitch (see No. 33), so that it may be fastened to the belt of the worker. 

Overcasting is a freehand stitch and often requires much practice to ac- 
complish it easily. It should finally be done very rapidly. All articles and 
garments having raw edges inside should be finished by overcasting before 
laying them aside. If the practice pieces are to be kept they also should 
be neatly overcast. 



Nos. 12 and 13. RUNNING AND BACKSTITCHING. 

MATERIALS FOR PRACTICE. 

Bleached oe Colored Cotton, No 60. Needle, No. 9. 

Unbleached Muslin, 
4x2y 2 Inches (2 pieces). 

Application.— See Nos. 9, 10, 13, 20, 21 and 22. 

Use. — For seams and other purposes where some strength is required. 

Fitness. — It is rapidly accomplished, and fills a place between the weak- 
ness of the running stitch and the strength of the stitching and backstitching. 

Rule. — The work is done from right to left. It is held as in the stitch- 
ing stitch. There are various forms of it. The number of running stitches 
between 1he stitching or backstitching may vary at will, according to the 
strength required. There are two forms of it which are especially useful. 




50 A SEWING COURSE 

No. 1. This form of the 
6titch is two running stitches 
and one backstitch (see Fig. 
10). It has the effect of a 
line of running stitches, on 
the side toward the worker, 
and makes an attractive fin- 
Fig. 10.— Running and Backstitching. First lsh - Il; ™ used for seams. Be- 

VARIETY. a, RIGHT SIDE; b. WRONG SIDE. f* ^ & ^ ll kn0t ' ,° r 

tastened in the seam. Take 
two or more running stitches, which can be counted on the side toward the 
worker, and then twice the length of one of the running stitches on the needle, 
and a backstitch will cover half the space. Pass needle forward under the 
backstitch and ahead the length of one running stitch, and bring the needle 
to the right side again to begin a new running stitch. 

No. 2. This form of the stitch has two running stitches and one stitching 
stitch. It is desirable in the fell to have the wrong side of the stitch attrac- 
tive, as it is that part which shows on the completion of the work. Care is 
needed in the fastening of the thread at the beginning. Take a careful 
double stitch on the side on which the work is done, or fasten with a small knot 

seam. Take two running stitches, 

and bring the needle to the right 

side as if for a third ; instead of 

continuing, take a stitch back 

^^ _ i to the previous running stitch. 

™ }~ _ = _ l== " and bring it forward on the 

Fig. 1L— Running and Backstitching, wrong side aeross the last run . 

Second variety, a right side; ning stitch and then to the 

b WRONG SIDE. r j gnt si( j e jjj fhe same place the 

former stitch came through. This will make one stitch over the other on 
tin wrong side, Fig. 11. b, but the effect is the running stitch. Three stitches 
meel on the right side, Fig. 11, a. 

There is another form of stitch frequently used. Take several running 
stitches and a stitching stitch which will meet the last running stitch. Pass 
the needle 1> -hiud the stitching stitch and ahead the length of a running 
stitch and bring it to the right side for the running stitcb again. This 
form is not as neat in appearance as the others. 

Practice. — Take two pieces of bleached or unbleached muslin, 4x2% 
inches, baste them carefully together into a seam % of an inch from the raw 
edges. Make a line of backstitching (form No. 1) one-half way across, di- 
rectly above or below the basting line. Continue the remainder of the 6eam 
with form No. 2. Practice probably will not be needed on the third variety 
of the stitch. The French seam is often made with No. 1 and the fell with 
No. 2. 



HEMMING 



SI 



No. 14. HEMMING. 



MATERIALS FOR PRACTICE. 



Colored Cotton, No. 60. 



"White Cotton, No. 100-150. 



Needle, No. 9. 
Needle, No. 10-12. 



Unbleached Muslin, 
6x21 - Inches. 
"White Victoria Lawn, 
4V-.X1 Inches. 

Application. — "Washcloth, handkerchief, apron, kimono. See No. 23. 

Use. — A means of finishing the raw edges in clothing and other articles 
such as aprons, dusters and towels. 

Fitness. — The double fold of material and the slanting stitch make a 
strong finish. 

Rule. — The stitch is worked from right to left on the edge of a folded 
hem. When the hem is well turned down and when necessary carefully basted, 
lay the work across the first finger of the left hand, with the fold turned to- 
ward the outside of the hand. Make a small knot and conceal it under the 
hem or point the needle to the right into the extreme end of the folded hem, 
and draw through all but a little end of thread, which must lie along the hem 
to be sewed in with the first stitches. Now point the needle toward the left, 
first into the material and then through again into the edge of the hem. Make 
slanting stitches. (The hemming stitch is sometimes made straight with the 
hem instead of slanting; it is less strong in this way.) Uniformity of slant and 
size are more important than small stitches for beginners. If pupils are taught 
to notice carefully, they will observe that in a correct position the two thumbs 





Fig. 12. — Hemming Stitch on Canvas. Fig. 13. — Hemming. Taking op New 

Thread. 

are at right angles with each other. "When the thread has been pulled through 
the fold on the wrong side, be particular not to begin the next stitch directly 
under it, but a little in advance. The stitch is composed of two parts, slant- 
ing toward each other, and in close hemming forms a tent shape, the two sides 
of which are equal. (See Fig. 12.) The needle should go fully through to 



52 A SEWING COURSE 

the right side if the material is to be laundered, or it makes an insecure 
stitch. The stitch must be even, but threads should not be counted. Care 
must be taken in beginning a new thread in the middle of a hem. If the fast- 
ening of both new and old threads cannot be neatly made in the hem break 
the old thread off short, pull out a stitch or two, leaving the end between the 
fold and the material, and begin a new thread in the fold where the last 
stitch was pulled out; hold down the ends of both old and new thread with 
the first stitches, letting them lie along the fold. Fasten off by taking two 
stitches in the fold over the last stitches taken. To avoid pricking the finger, 
loosen the work a little as the stitch is taken. 

For hemming on silk, chiffon or very sheer cotton material the stitch 
is made differently so that it will be almost invisible on the right side. In 
such cases a very long slanting stitch is taken on the wrong side, while the 
needle takes up on the right side as little material as will hold the hem in 
place. Sometimes, catching one half of a single thread of the cloth is suf- 
ficient to hold down the material. 

Practice. — First practice piece. Take a strip of unbleached muslin, 
6x2% inches, fold % inch hem along the two short sides and across one 
dge. Square the corner nearest to the point where the hem is begun, cut 
■ •nl the unnecessary cloth from under the fold. Miter the other corner, ac- 
cording to Miter Xo. 1. Baste the hem carefully with white cotton. If the 
cloth is cut and folded exactly, it is easier to make the stitch even. Begin 
the work at the extreme left hand. Hem along one short side to the square 
corner. (In hemming across the square and mitred corners, do not allow 
i he stitch to go through to the right side.) Put the needle through the hem 
without going through to the right side, overhand neatly the fold to the 
Wider fold, and begin the hemming stitch again at the point where it reaches 
the corner. At the mitred corner put the needle through the cloth to the 
extreme outer point, and hem along the mitre and then along the remaining 
short side of the practice piece. The work on this practice piece should be 
done with colored thread, that the weak points in the stitch may be seen and 
criticised. 

Second practice piece. Take a strip i^xl inch of white Victoria lawn, 
or some fine muslin. Cut one end into a point. Turn in the narrowest hem 
possible along each of the long sides, and across the pointed end. Hem with 
white cotton No. 100. and the finest hemming stitches. 

Suggestion. — Hemming is a difficult stitch to learn, as it requires neat 
and accurate adjustment ; it is not well for young children to attempt it on 
fine cotton cloth. As decoration it is very attractive; children in first and 
secondary primary grades may utilize it on canvas with colored wool and 
train ideas of its form and accuracy which will make it easier for them later 
to learn to make it on muslin, or they can make a coarse stitch with colored 
wool on cheesecloth for a duster. 

For the first practice on muslin, the stitch should be made rather coarse. 
When once learned it is easy to make it small and accurate. 

The pupils should be given articles to work on as quickly as possible, 
even if they can only make a large and irregular stitch at first, improvement 
will come more rapidly than on practice pieces. The very interest they feel 
in the work will increase their critical spirit and their desire for better ef- 
fects. Handkerchiefs, aprons, sheets, and sails may be made entirely of the 
hemminsr stitch. 



HEMMING 



S3 



Running, stitching and hemming are so universally utilized in articles of 
everyday use that any child who has learned them, is able to be of use to 
herself aud to others. It is in the hands of the teacher to suggest uses for 
them by showing the classes hemming on garments, by giving various articles 
to construct and by encouraging free expression of opinion to develop ideas 
connected with them. 



Nos. 15, 16 and 17. OVERHANDING. 



Needle, No. 10 or 11. 
Needle, No. 10 or 11. 
Needle, No. 10 or 12. 



MATERIALS FOR PRACTICE. 

No. 1. Narrow Striped White Cotton, 

Gingham, 4x4 Inches. No. 80 or 100. 

No. 2. Daiiask, "White Cotton, 

4x4 Inches. No. 80 or 100. 

No. 3. White Muslin, White Cotton, 

Two selvage strips, 4x2 in. No. 80 or 100. 
Torchon Lace, y 2 in. wide, 
9% Inches. 

Application. — Pinballs, holders, napkins and cases of various kinds. See 
Fig. 40. 

Use. — To so fasten together two pieces of material that the joining will 
scarcely be visible, yet the seam will be strong, as in a patch; uniting seams 
and selvages for underclothing and bed linen; hemming table linen and sew- 
ing on lace. 

Fitness. — The close stitch is strong, while the form makes it almost 
invisible. 

Rule. — Place together and baste the two pieces of material to be over- 
handed. If the edges are raw, a small fold should be turned on each piece; 
if selvages, they can be placed exactly together. The direction of the sewing 
is from right to left (it is sometimes worked from left to right). The form 
of the stitch is a slanting line meeting a straight one. See Fig. 14. It is 
better to work the stitch on the wrong side of the material, as it places the 
slanting part of the stitch on the wrong side. The straight part falls in the 
direction in which the threads are woven, and thus shows less. In over- 
handing a patch to a garment, however, it is easier to insert the patch from 
the right side, the slight imperfection arising from the showing of the slant- 
ing part of the stitch is offset by the greater difficulty of setting the patch 
in satisfactorily from the wrong side. In overhanding, the material is held 

horizontally in the left hand, with 
the edges lying along the first 
finger; the thumb and first finger 
keep the material in place; the 
right elbow should be raised from 
the side, and the needle should 
point to the chest in each stitch; 
a knot may be used, but often in- 
terferes with a neat finish. The 
thread can be fastened down by 
the first stitches, in which case be- 
gin by pointing the needle to the 




Fig. 14. — Overhanding. 



54 A SEWING COURSE 

right, and taking the first stitch in the fold at the extreme right end. Leave 
an end of thread along the fold, to be fastened down by the first few stitches. 
The stitches should be a couple of threads deep and should not be crowded, 
that a fiat seam may result. This is especially important in selvages, as, if 
the stitch is too deep, it makes an ugly ridge. In very fine work when a new 
thread is necessary the short end of the old one may be taken out of the fold 
nearest the worker and a new one inserted in the same hole; both threads 
should lie together between the folds or selvages to be held down by the next 
stitches. Finish off by sewing back a few stitches. Take the basting thread 
out and open the seam with the nail. It should lie perfectly flat and the 
stitches should be scarcely visible. 

Practice. — First practice piece. Overhanding a seam. Take a piece of 
narrow striped gingham, 4x4 inches, cut it apart between the stripes about 
an inch from one side; turn narrow folds on the cut edges, matching the 
stripes so that the pattern will be perfect on the right side; lay the right 
sides together and baste if necessary. Overhand together according to the 
rule for overhanding. If more practice is needed cut from one of the corners 
of the practice piece a diagonal 1U> inches along the straight sides; cut from 
another piece of the same kind of material a bias piece to match in pattern 
and overhand together, being careful not to stretch the bias edges while sewing. 

Second Practice Piece. — Napery stitch, or overhanding on linen. Or- 
dinary hemming is not strong enough for damask, and overhanding is used 
in its place. Take a piece of damask 4x4 inches, turn as narrow a hem 
as possible (the narrower the hem the better the effect). When the hem 
is turned turn it bach again on itself the exact width of the hem; overhand 
the fold to the main body of the material. 

Third Practice Piece. — Overhanding selvages and overhanding lace. In 
bed linen and underclothing, selvages are frequently overhanded together. 
Take two selvage strips of muslin 4x2 inches, overhand carefully together, 
not takinpr too deep a stitch, or an ugly seam will result. On completing the 
Beam, fold ' g inch hem along two adjoining sides of the practice piece, mitering 
the corner. (See Miter No. 2.) Overhand narrow lace along these two sides. 
Tin' lace should lie held toward the worker; it should be held loosely, but not 
full, if it is luld too tight it will not launder well. When the corner is 
reached, twice the width of the lace should be allowed at the turn, so it will 
not draw; this fullness may be held in 14 of an inch space on each side of 
the corner. 

Suggestion. — The form of the overhanding is attractive, and may be 
used as decoration in the canvas work adapted to the early grades. (See 
No. 2.) Overhanding fine material together is too hard for young children. 
It is especially difficult for them to unite the selvages, as the turn back of 
the woof thread in the weaving makes an unequal and stiff edge for the 
needle to push through, but a deep stitch is incorrect. Overhanding on the 
bias requires precision and neatness in completing the pattern, if there is 
one. It may be practiced by the pupils, if necessary. Children should not 
be allowed to make the stitch incorrectly. It is better, therefore, to wait 
until they are capable of doing fine work before teaching it to them. As 
soon as they learn it they should utilize it. Many things can be made with 
the stitch such as needlebooks and pin eases, where two pieces of cardboard 
can be covered with material and overhanded together; table-cloths ; napkins; 
pillow and bolster cases; book-covers; lined bags, and pin cushions. Children 



OVERHANDING 



55 



enjoy making them and quickly realize that they can be of use at home or 
to the people they know. By using the art lessons in connection extremely 
attractive and often original designs can be secured. 



Nos. 18 and 19. GARMENT BIAS AND TRUE BIAS. 

A bias cut in cloth is a slanting or diagonal severing of the material. 
Both warp and woof threads will be cut. (See Fig. 15.) It may vary with 
the requirements of the garment. A true or perfect bias, however, does not 
vary. It is always the diagonal of the square. It equally severs both warp 
and woof threads. (Fig. 16.) 





Fig. 15. — Garment Bias. (Gore.) 



Fig. 16.— True Bias. 



GARMENT BIAS. 



MATERIALS FOR PRACTICE. 



Kindergarten Paper (Colored), 4x3 Inches. 
Brown Manila Paper, 13 1 /ox4 1 /o Inches. 
Striped Paper for Bias Facing. 

Application. — Petticoat or small dress skirt. 

Use and Fitness. — The slanting cut taken in some garments such as in 
drawers, chemises and in gores of skirts, makes them fit better, disposes of 
unnecessary material, and decreases undesirable width. 

A gore is a piece of material in which the width is narrowed from bot- 
tom to top. In a skirt one side of the gore is usually straight and the other 
bias, but fashion sometimes dictates that both sides shall be bias. In the 
latter case two slanting pieces will often be thrown together in one seam,- 
but as the bias stretches easily it is apt to be unsatisfactory, especially for 
laundering. It may be strengthened by stitching a stay-tape or a straight 
piece of material in with the seam. "When a straight edge is joined to a bias 
one, the former will support the latter and keep it from stretching. Gores 
may be placed at each side of the front breadth of a skirt with the straight 
edges to the front. The amount of slant in the gore depends upon the figure 



56 A SEWING COURSE 

of the wearer and the requirements oi' fashion. A simple rule often followed 
in white underskirts is to put two parts at the bottom of the gore to one at 
the top. In cutting a skirt from white muslin or any material of sufficient 
width, which is the same on both sides, the gores may be economically cut from 
one length of material as the wrong side can be utilized. In the making of 
drawers and chemises the bias sides are laid together, care must be taken not 
to stretch the seam while sewing them together. 

Rule. — (For cutting gores from muslin.) Take a piece of material long 
enough for the length of the skirt to be made. Divide the top and the bot- 
tom of the width into thirds and mark. Fold the cloth so that there will 
be one-third at one end and two-thirds at the other, and cut apart through 
the fold. (Fig. 15.) This will give two gores; as the material is the same 
on both sides and one gore may be turned wrong side out, both gores can be 
used in one skirt. This cannot be done in material which differs on the right 
and wrong sides. 

For applied work in the use of gores, sewing seams on the bias, and 
other principles of garment construction, a little gored petticoat may be cut 
and made. A simple way to teach a class which cannot draft is to take a 
strip of muslin 13% inches by 4% inches (this is three yards of muslin 
reduced one-eighth scale) and cut the length into three equal parts. One 
piece may be cut into gores. Another piece is for the back and should have 
a vent cut down the center. The third piece is for the front, it can have 
one-fourth or one-sixth (according to fullness required) taken from each 
side of the top and sloped to nothing at the bottom. Lay a straight side 
of one of the gores on each side of the front, baste carefully, and make a 
fell or French seam. (See Nos. 20, 21, 22.) Cut off the part of the bias 
that extends below the seam. Join the back to the gores in the same way. 
The facing for the bottom of the skirt may be bias or straight. The former 
fits better. It is possible to turn up the bottom of the skirt into a hem in- 
stead of putting on a facing, but allowance must be made for it in the cut- 
ting of the skirt. 

The new principles needed in putting together a skirt, i. e., felling or 
French seam, gathering, stroking and placket, putting on a band and button- 
holes, should be practiced before completing the petticoat. Practice in the 
use of the true bias may be combined with these by the cutting of a bias 
facing or the pulling on of a bias ruffle. 

Practice. — First Practice Piece. — Take Kindergarten or other paper 
4x3 inches (colored on one side and white on the other). Divide it into 
thirds along the three-inch ends and mark. Double it over so that it will 
slant from the first mark at one end to the second on the opposite end. 
(Fig. 15.) Cut through the crease. This will give two gores and serve as 
a basis of comparison for economical cutting with the gores in the petticoat 
of manila paper, as it shows that material differing on the right and wrong 
sides cannot be tur 1 wrong side out and utilized. 

SECOND Practice Piece. — Take manila paper 13%x4% inches, cut it into 
a skirt and baste it together according to the rule. Take striped tissue paper 
cut it into one inch wide bias strips (see true bias), and baste it on the bot- 
tom of the skirt. Fold placket No. 1 (see No. 29) in the back of the skirt. 

Suggestion. — Tt is well for every pupil to make at least a small skirt, 
if. however, there is not time for this, they should cut one from paper 
and baste it together, comparing their work continually with the way to 



GARMENT BIAS 57 

proceed in cotton material. The length of the cotton skirt should be cut 
along the warp, as cloth is stronger in that direction. It is well to have a 
class doll or a lay figure so that measurements may be taken on it and if 
there is not time to make a full sized skirt the children may be able to 
see the relation between the small and the large size. This lesson should be 
so thoroughly given that each child can make one for herself at home. A 
very profitable result will follow this subject if the class will carefully cal- 
culate the amount of material for a full sized skirt and also decide the 
amount of bias or straight material needed for a ruffle for it. They should 
estimate the cost of the skirt finished in various ways (ruffles, embroidery, 
lace, tucks). To this may be added the expense of laundering with com- 
parisons of the difference between a plain or an elaborate garment so that 
the economics of dress may be brought out. Each pupil should decide upon 
the way she wishes to make her skirt. It will be well also for the teacher 
from this lesson on to give frequent opportun ties to the class to design, 
measure and cut various garments that they may gradually gain a good 
foundation for later drafting and garment making. (See Drafting in the Notes 
for Teachers.) When the class is too inexperienced to make button-holes 
in the skirt band, they can sew on tapes for strings instead. (See No. 33.) 



TRUE BIAS. 

MATERIALS FOR PRACTICE. 

Kindergarten or Manila Paper, 5x2 V-> Inches. 

Application. — Bias ruffle on skirt, bias facing on petticoat, a gusset, 
and folds for trimming. 

Use. — For folds, facings and bindings. 

Fitness. — It stretches more than material cut on the straight and can 
be smoothly fitted into places where straight material would have to be 
puckered. 

Rule. — To cut a true bias is to evenly sever both warp and woof threads. 
The width of the material is laid down the length of the selvage and the 
cut is made through the slanting fold. In finding a perfect square, a true 
bias is found in the diagonal fold. (See Fig. 16.) It may be noticed in 
folding that the warp threads are laid on a line with the woof threads. Any 
deviation from this will keep the bias from being true. In buying material 
on the bias, the end is folded over, the true bias found and the diagonal 
fold cut through. The measuring for the quantity required is then made 
first along one selvage and then along the other. A fold is made from one 
selvage to the other, and the cut is made through this fold. As greater 
length is obtained along the bias strip than along the selvage an equal loss 
will be shown in the width of the strip; about one-third is thus gained in 
one way and lost in the other. This must be remembered in calculating 
the amount of material required. Material bought on the straight will have 
to be folded in the same way to obtain the bias. In calculating for the 
strips, allow one-third more along the selvage than the required width of 
the bias, measure along the selvage and chalk across. If a number of strips 
are needed, measure four at a time and cut afterwards into halves and 



58 A SEWING COURSE 

quarters, or fold the strips carefully one over the other and eut through 
the folds. The triangle left at either end may be utilized in some materials. 
(See bias ruffle.) 

A gusset is, in its usual form, a triangle with a true bias at the base. 
The stretching of the bias helps to make it fit and the triangle gores are 
at the end of the seam. 

Care must be taken in piecing bias strips, that the warp or woof threads 
in all the strips run the same way, or the joining will show. When prop- 
erly adjusted the two will form a right angle. In uniting bias pieces, the 
edges at either end of the two strips, as they are laid face to face, must over- 
lap the width of the seam, so that the top of the strip will be even after the 
seam is taken. 

Practice. — Take paper 5x2i/o inches. Fold the narrow side that it 
may exactly meet the long, press it over into a triangle and eut through 
the fold. In order to compare the relation of measurement on the selvage 
to that through the bias strips take the larger piece of paper, measure one 
inch on each side and rule a line across. Now measure it all into one-inch 
wide bias pieces by placing the measure at right angles with the bias eut. 
Put a dot at each inch at the top and the bottom of the paper to the end 
of the strip. Rule lines diagonally across through the dots. 

BIAS RUFFLE 

MATERIALS FOR PRACTICE. 

Tim \m;lf. of Fixe Checked Gingham, Cotton, No. 80-100. Needle, 10-11. 
6 Inches on Straight Sides. 
Cord 6 Inches. 

Application. — Trimming for underclothing or dolls' clothes. 

This exercise is to show the uniting and hemming of bias pieces, and 
also the economizing of material in the utilization of a triangle. 

Practice. — Take a triangle of checked gingham the straight sides of 
which arc six inches. Fold hack the triangle so it comes one-half an inch 
below tli'- base and cut through the fold. Cut the base into two equal parts. 
A bias piece may then be joined with a fine running stitch to each side of 
the triangle, matching the pattern if there is any. Allow the apex of the 
triangle to extend as far beyond the scams as the matching of the pattern will 
allow. A narrow hern should be made on the bottom of the bias strip thus 
formed. The top may he turned over a cord and a casing run in. being 
careful not to catch any stitch in the cord. Draw the ruffle up and put 
a knot in each end of the cord so it will not slip through the casing. 
If a ruffle is to be placed on a garment, that will take the place of practice. 

Stggestion. — Every effort should be made to have classes understand 
the relation of the gain in length to the loss in width in the bias. It is well 
to have problems presented which will deal with the purchase of material 
and the calculations of amounts required for different sized bands or ruf- 
fles. For instance, how much bias velvet, twenty inches wide, would it 
require for bands four inches deep to be placed on a skirt three yards 
around? Let the children who are making the bias ruffle on the petticoat 
(gee surrrjestions under garment bias) decide how much it would take for 
this little skirt, compare straight with bias ruffles, and also let them cut 
paper on the bias to represent the amount of material. They should see 



BIAS RUFFLE 59 

the difference it makes if the triangles at either end cut from the straight 
materia] are utilized. The classes can utilize the ruffle for trimming dolls' 
clothing or for larger garments. Practice is not necessary unless the pupils 
are very inexperienced. 



Nos. 20, 21 and 22. SEAMS. 

Use. — A means of fastening together two or more pieces of material. 

Varieties. — Single and double seams. For the former the following 
stitches are used, the running; stitching; backstitching and varieties of 
these ; overhanding, and fine-drawing. For the latter, felling, French-seam, 
overhand and fell and counter-hemming. Double sewing is used in seams 
where greater strength or beauty is required than the single stitch can give. 
In dressmaking and tailoring there are many special names used such as 
lapped, welt, strapped and slot seams; these are, however, but varieties 
of those mentioned above. 

Practice. — For the first practice it is sometimes better to use material 
on the straight of the goods and colored thread, as the work is easier on 
the straight and the imperfections will show clearly. Seams in such gar- 
ments as chemises, petticoats, nightgowns and drawers are, however, usually 
on the bias or a straight piece is united to a bias. It is well for inexperi- 
enced pupils to practice on a piece of cloth before applying on a garment, 
but the moment they can do fair work they should begin on a real garment, 
small or full size. (See Application of Stitches No. 23.) In many schools 
jthe first practice is given on coarse, unbleached muslin, but it is so much 
more difficult to work on than on a good quality of white muslin that it is 
unnecessarily discouraging to the pupils. 

Suggestion. — Garments in which various single and double seams are 
used should be brought to the class and their form and adaptability dis- 
cussed. The teacher can use her judgment in discussing or practicing the 
various forms of seams used in dressmaking and tailoring. 



FELLING. 

MATERIALS FOR PRACTICE. 

White Muslin, Cotton, No. 80-100. Needle, No. 10-11. 

4x3 Inches. 

Application. — Pillowcases and underclothing. 

Use. — To join two straight or two bias pieces of material, so that the 
raw edges will be completely hidden, and a strong seam will result. It is 
used for seams in underclothing, pillowcases and laundry bags. 

Fitness. — Double sewing makes it strong; the turned-in edges keep it 
from fraying, and the effect is neat and pleasing. 

Rule. — This seam is to be twice sewed and may be made on straight 
or bias material. Baste together the edges of the cloth, having placed one a 



A SEWING COURSE 



short distance below the other (about Vs of an inch in white muslin). The 
upper edge will later be hemmed down over the short 
edge. (Fig. 17.) Running and backstitching No. 2 
or fine running may be used for the first sewing of 
the seam, as its wrong side is attractive. The first 
sewing of a fell may be also stitching or overhanding. 
The difficulty with stitching is the need to do the work 
on the wrong side of the seam so that when com- 
pleted the right side of the stitching stitch may show 
(For overhand and fell see below.) 

Make the seam as narrow as possible for strength. 
When the first seam is completed, take out the basting 
stitches, open the seam flat, and turn the wide edge 
of the material over the narrow. Hem the wide edge 
to begin the sewing at the wide end of the material 
way as the straight. Care, however, should be taken 
required in underclothing. It is made in the same 
flat on both sides of the material. A bias fell is often 
seam should be narrow and even, and lie perfectly 
needle as the work proceeds. (Fig. 17.) The fell 
carefully down, turning in the raw edge with the 
on account of the fraying. 

Practice. — First on two straight pieces and then on a bias seam. Take 
white muslin, 4x3 inches, divide it into two gores, as described in the practice 
piece for the garment bias. Lay one bias piece against the other, having wide 
ends to wide ends and narrow to narrow. Proceed as by rule, using the run- 
ning and backstitching No. 2 for the seam. Let the hemming-stitch, used for 
felling down the wider edge show distinctly through the material, so that 
it may be strong. 




Fig. 17.— The Fell. 



FRENCH SEAM. 

MATERIALS FOR PRACTICE. 



White Muslin, 
4x3 Inches. 



Cotton, No. 80-100. 



Needle, No. 10-11. 



Use. — For seams in lace, embroidery, wash goods that are not lined and 
for underclothing. It is used for underwaists and underclothing in prefer- 
ence to the fell, as it is more satisfactory in curved seams. 

Fitness. — It makes a neat appearance, as it shows but one line of sewing 
on the right side; it launders well, and for thin wash material has a better 
effect than the raw edges showing through the material. 

Rule. — The seam is to be twice sewed. It may be made on straight or 
bias material. Lay the two edges to be united exactly together on what will 
be the right side of the garment, and baste neatly near the edge. Use a fine 
running stitch for the first sewing and make the seam as narrow as possible 



\ 



FRENCH SEAM 61 




for strength. Trim the edges neat- 
ly, and lay the seam open with the 
finger nail. Turn the seam inside 
of the muslin, and make a new 
seam over the other on what will 
Fig. 18. — The French Seam. be the wrong side of the garment. 

Various stitches may be used for 
the second sewing according to the strength desired. The second sewing must 
cover the raw edges of the first seam. (Fig. 18.) The seam should be as 
narrow and neat as possible. 

Practice. — Take white muslin 4x3 inches. Cut it into two gores as de- 
scribed in the practice piece for garment bias. Lay one bias piece against 
the other, having wide end to wide end, and narrow to narrow. Proceed as 
by rule. Begin the running stitch on the wide ends of the bias pieces. Let 
the second sewing of the seam be done with running and backstitching No. 1. 



OVERHAND AND FELL AND OTHER SEAMS. 

MATERIALS FOR PRACTICE. 

White Muslin, Cotton, No. 80-100. Needle, No. 10-11. 

4x3 Inches. 

Application. — Undergarments, ball covers and sails. 

Use. — In seams where great strength and neatness are required. 

Fitness. — The overhand stitch for the first sewing followed by the hem- 
ming stitch in the fell makes a very durable seam. 

Rule. — Take the two pieces to be joined, turn a small fold on the raw 
edge of each piece — the turn on one piece should be twice as deep as the 
one on the other. Overhand the two pieces together, having the narrow fold 
toward the worker. Overhand the seams according to the rule for overhand- 
ing, press open the seam, turn the wide edge over the narrow and hem it down. 
The seam should be flat. 

Practice. — See gusset or as in fell and French seam. 

Fine drawing (see description) is used to hold two selvages or two pieces 
of heavy cloth in a seam. It is the stitch used in sewing together the seams 
in the leather or felt coverings of balls. 

Counter-hemming is used in seams where the materials are made to over- 
lap a little and are then hemmed on both sides. Sails for toy boats can be 
made of wide cotton or linen tape counter-hemmed together; when made thus 
they look much more like real sails than when the forms of mainsail and jib 
are merely cut from muslin and hemmed around the edge. If boys are in 
the classes, they can readily whittle boats and use the sails on them. The 
children should first carefully baste the strips together before counter-hem- 
ming them. The raw edges above and below must also be turned in and 
hemmed when the sail has been sewed together. Talks on boats and sails, 
and illustrations of sail-cloth, sail-needles and thimbles all add greatly to the 
interest. 



62 A SEWING COURSE 



No. 23. APPLICATION OF STITCHES. 

The following suggestions for applying the stitches are given to help 
teachers to plan courses of work. Eeal articles and garments are mentioned 
in the hope that these will be used in place of models of stitches. These vari- 
ous things can be made by the children while they are learning the stitches 
and with the minimum of practice. It is more important that they learn 
to be constructive along useful lines, with a few stitches, than that they 
should continue to learn new stitches only. It is not necessary for the teacher 
to make every one of these articles, but she should make some of them and 
place them in an interleaved copy of the Sewing Course. They will thus be 
an incentive to the pupils. Each teacher, however, should herself make 
any article or garment which she plans to give her pupils. The current 
magazines dealing with home problems will also help her in choosing her 
course of instruction, for they give description of the way to construct many 
useful as well as fancy articles. As the manner of making and the decoration 
changes continually, according to prevailing fashion, only a few articles 
which are not apt to be thus affected are described in detail in the following 
pages. Patterns of articles and clothing in large and small sizes can easily 
be obtained. 

BUTTON BAG. 

MATERIALS FOR PRACTICE. 

Gingham or other Cotton Material. Cotton, No. 60-80. Needle, 9-10. 
12x4 Inches. 

Take a piece of material 12x4 inches. Fold it together with the wrong 
side out so that the two ends exactly meet. Stitch a narrow seam along each 
side beginning at the bottom of the bag and continuing until within 2 1 /*> 
inches of the top. Overcast raw edges of the seams. The rest of the way to 
the top of the bag hem the four sides separately in narrow hems. Turn the 
tops down to the side seams and hem neatly. Run a casing in l /± of an inch 
above the hem. Put a narrow linen tape through the casing, beginning at 
the hemmed edges on one side. Draw the ends of the tape out on one side 
and fasten together by turning in the raw edges, lapping the ends one over 
the other and overhanding the parts together. Put a second tape in from 
the opposite side and complete it as the other. The bag is drawn together 
by pulling on the two strings at once. Another way to finish the bag is to 
put a scries of rings on the inside of the hem and run the tape through these 
in place of a casing. 

Siggestion. — A lesson on the bag should be supplemented by a discus- 
sion of various sorts of hags and their methods of construction. Where bags 
are needed for school purposes the children can supply that need. Boys 
may make marble hags of galatea. while the girls are making button or work- 
bass of other materials. Variations in the way of completing the bags will 
add interest 



APPLICATION OF STITCHES 63 

APRONS (Small size). 

No. 1. With Casing. 
No. 2. With Band. 

MATERIALS FOR PRACTICE. 

.... f 7x8 In. Cotton, No. 60-100. Needle, No. 9-11. 
Gingham or Muslin (1) < 16xl j N 

Gingham or Muslin ( 7xS In. 

Gingham ok Muslin (2) -j 6^4x1 In. 

Gingham or Muslin (6x1% In. (2 pieces.) 

A very simple apron can be made by taking gingham or muslin 7x8 
inches. A narrow hem can be made on each side along the 7-inch side of 
the material. An inch, hem can be turned up at the bottom. In place of 
putting on a band a ^ inch hem can be turned down at the top to form a 
casing. A tape (16 inches long) can be used or a strip of the same material 
can have a narrow hem on each long side and a 14 inch hem across each end 
and be slipped through the casing to draw the fullness together around the 
waist. Hemming alone is required in this practice piece. 

If an apron on a band is desired a piece of gingham 7x8 inches can 
be hemmed on each 7-inch side and at the bottom as above. The top can be 
gathered and stroked (see Gathering and Stroking) and the band put on by 
stitching or setting-in gathers (see Putting on a Band). The apron may be 
drawn in to four inches at the top. The belt will thus extend one inch beyond 
the apron on each side and these sides of the belt can be overhanded together to 
the ends. Two strips, 6xlVi inches, can be finished for strings by placing 
narrow hems along each side and a deeper hem at the bottom. These strings 
can be gathered at the unhemmed ends and joined to the end of the belt by 
stitching, or setting-in gathers. 

Other kinds of aprons with bibs, straps and pockets should be discussed 
by the classes. Aprons are frequently indicative of certain tasks, viz., nurses, 
waitresses, butchers, cooks and blacksmiths. This subject may be made inter- 
esting to a class. 

If a full sized apron extending well to the back is to be made, some of the 
material must be cut away from the center of the front before the gathering 
thread is put in, or it will bulge just below the band. About one inch in 
the center of the front may be sloped to nothing at each side. 

The following articles also are described in the Sewing Course : 

Petticoats (small size). See No. 19. 

Travelling Case. See No. 43. 

Trunk Tray-cover. See No. 43. 

Hemstitched Handkerchiefs (small size). See No. 46. 

Apron op Pine Muslin. See No. 48. 

Additional suggestions of articles applying useful stitches: 

Sheets (all hemming) ; pillow-cases (overhanding or the fell, overcast- 
ing, hemming); table linen (napery stitch, and marking by (1) linen em- 
broidery, (2) cross stitch or (3) chain stitch) ; bags (hemming, overhanding, 
overcasting, fancy stitches, binding with braid and buttonhole stitch or eyelet) ; 
work-bag with divisions; shoe bag; school bag; laundry bag; clothes-pin bag; 



64 A SEWING COURSE 

clothes bag; and collar and cuff bag with stiff bottom. There are an endless 
number of things which may apply the plain stitches, the fancy stitches or 
the constructive principles. These can be chosen according to the needs 
of the classes. The following useful exercises are all being used in the 
schools: Fittings for the work-basket or work-bag, such as needlecases, 
emery holders, scissor shields, thimble cases and pin-cushions; furnishing for 
doll's houses, such as muslin curtains, portieres, cushion, couch, bureau, and 
stand covers; cases, such as travelling, pin, toilet, jewelry, handkerchief and 
card cases ; articles for the school, such as class and national flags, badges, cos- 
tumes for dramatic work, curtains for book-cases, bags for gymnasium shoes, 
towels, aprons, caps and sleeves for cooking; work aprons for woodwork, 
historic dress in large or small size ; articles for the home, such as the pads for 
bureau drawers, pin-cushions, whiskbroom holders, waste basket of paste- 
board and denim, bureau scarfs and sofa pillows; the use of decorative stitches 
in book-covers, portfolios, corners of writing pads, note-books for sewing, hem- 
stitched, embroidered or marked towels, napkins, doilies, table runners and 
squares, collars and cuffs, trimmings for cotton or woolen gowns and for 
linen shirtwaists, lingerie hats, neckties and belts; underclothing, simple 
or elaborate, such as the single piece underwaist or nightgown; children's 
clothing, such as sunbonnet, caps, guimpes, or simple one-piece aprons or 
dresses. 

Underclothing and outer clothing for dolls offer excellent work in the 
fifth or even the sixth grade. Through the numerous articles which can be 
made, all the stitches already learned can be utilized and new principles such 
as plackets, putting on bands, sewing on tape, tucking, fancy stitches and 
embroidery can be added. If bought patterns are used at first they should 
soon give way to patterns made by the children. (See Drafting.) 



APPLICATION OF STITCHES 65 

APPLICATION OF STITCHES. 

Space for the description of any special article planned by the teacher. 



BUTTONHOLES, EYELETS, ETC. 



67 



Nos. 24, 25, 26, 27 and 28. BUTTONHOLES, EYELETS, 

LOOPS, SEWING ON BUTTONS, and 

BLANKET STITCH. 

MATERIALS FOR PRACTICE. 

White Muslin, White Cotton, No. 60. Needle, No. 9. 

4x4 Inches (two pieces). 
Small pearl button. 

Application. — On aprons, bags, cases, doll's clothes and full sized gar- 
ments. 

Use. — To fasten together parts of clothing or to give a strong edge to 
material. 

Fitness. — The character of the buttonhole stitch is such that both dura- 
bility and beauty may be secured in the buttonhole. 

Rule. — Buttonholes are worked on the right side of double material. 
The work may be done from right to left, or ■ from left to right, the only 
difference is the manner of making the purl (the twist given to the thread 
about the needle). The thread must be turned about the needle in the direc- 
tion in which the work is advancing. (Fig. 19.) The slits are cut at inter- 
vals about a quarter of an inch from the edge of the cloth; for fiat buttons 
they should be cut the length of the diameter of the button, for round but- 
tons, somewhat longer, and always even to the thread. Begin work at the 
lower end of the slit (farthest from the edge of the cloth). Hold the button- 
hole slanting across the first finger of the left hand, with the edge of the 
cloth toward the outside of the hand. Make two or more stitches across the 
lower end, if a bar of buttonhole stitches is to complete the buttonhole ; this 
crossbar is to keep the sides of the buttonhole from stretching. 

The following description is from right to left, and is a usual method 
of making buttonholes in cotton material: First strand the buttonhole by 
taking one or more long stitches to the extreme end of the slit and back again 
on the opposite side; the buttonhole stitches will cover these, and will be 
strengthened by them. As double material is used for buttonholes, the two 
raw edges should be lightly overcast together, over the stranding; this over- 
casting must not be deep, or it will show. After finishing the overcasting 
on both sides, bring the needle to the right side close to the edge of the slit 
at the end of the buttonhole furthest from the edge jf the cloth. Take the 







Fio. 19. — Buttonhole Stitch. 



Fig. 20. — Buttonhole. 



68 A SEWING COURSE 

first buttonhole stitch by putting the needle into the slit' close to the end and 
bring it out far enough from the edge of the slit to avoid danger from ravel- 
ing. In muslin four to six threads above the edge will be sufficient. Before 
pulling the thread through, put the thread from the eye around from right 
to left under the point of the needle (Fig. 19) (if it be brought from left to 
right it will make the blanket stitch, which does not make a strong finish needed 
in buttonholes). The needle is drawn away from the worker so that the 
purl comes on the edge of the slit. Make the stitches upright, of the same 
depth, and about one thread of material between each stitch, to allow room 
for the purl. When the opposite end of the slit is reached, turn to the other 
edge by making a fan of stitches. (Fig. 20.) Let the purl be close together 
the cut, to make it strong, as the shank of the button will rest there. 

outer part of the stitches will be stretched into a fan. The round end 
of the buttonholes takes usually from seven to nine stitches. It is some- 
times made without the purl and consists of a close overhand stitch like 
eyelet No. 3. When the lower end of the buttonhole has been reached, the 
fan can lie made around this end, or if this end is to be barred, put the 
needle into the purl on the opposite side, and draw the two sides of the slit 
together; take two or three stitches if it needs to be very strong; bring the 
mi ill.' out beyond the slit on a line with the depth of stitches just completed 
ami make a i-li isc liar of buttonhole stitches across. (Fig. 20.) The ends of 
tlir liar should be on a line with the outside of the buttonhole stitches. Some 
needlewomen make the bar of the blanket stitches; it is not quite so strong 
made in this manner. The stitch in the bar that comes over the first stitch 

in the buttonhole must pass through its loop, so as to hold it from slip- 
ping; fasten all securely. 

Take a long enough thread to complete the buttonhole stitches, as it is 

difficull to join the thread after the purl has been started; a thread 
aboul :: i of a yard long is enough for ordinary buttonholes. Coarse thread 
may lie used I'm' coarse material; but for ordinary muslin No. 60 is coarse 

li. Use as tine a needle as possible. If a thread must be taken in the 
midst nl' the buttonhole put the old thread through the slit and fasten- well 
mi the other side. Inserl the new thread through the last purl and continue 

Core. Buttonholes in cotton material may be rounded at both ends, 
barred at both ends, or the end where the shank of the button will come may 
lie rounded and the other end barred. 

When making buttonholes on wool material the method is not essen- 
tially different, though in rounding the ends more stitches are often taken 
in Hie fan As each stitch is made, it may be pulled up tightly that great 
strength may be trained. D. silk is generally used. If the material is thick 
or if if frays easily, it is well to put a double line of little running or machine 
stitches where the buttonhole is to be and cut the slit between these stitches. 
Glue is also used to keep the material in place before cutting. Little plates 
can lie purchased with the form of the buttonhole cut in them; by putting 
the '-due through such a hole there is no danger of it spreading too far and 
injuring the fabric. In heavy cloth a wedge-shaped piece is usually cut in 
i lie end of the slit where the shank of the button will come, or an eyelet hole 
is pierced instead. (Fig. 21.) It is also cutomary in heavy material to 
work the buttonhole stitch over a cord as the stranding of the buttonhole 
twist is not sufficiently strong. When completing the buttonhole in wool 
material it is well to take several stitches across the end and make the button- 
hole stitch over them to insure strength. 



BUTTONHOLES, EYELETS, ETC 69 

The cutting of the buttonholes is always extremely important as the 
final appearance is greatly dependent on it. Buttonhole scissors, set to the 
right length, aid in obtaining regularity, but much depends on the worker, 
who must always cut the material to a thread, begin each cut at the same 
distance from the edge of the cloth, usually about % °f an inch, and have the 
slits the same distance apart. Every point must be carefully measured and 
indicated before cutting. Haphazard work is almost always fatal to success. 

Practice. — The practice piece contains buttonholes, eyelets, loops, sew- 
ing on a button, and the blanket stitch. Take two pieces of muslin -tx-1 inches. 
Turn in all the edges neatly, and baste the two pieces carefully together; be 
sure to have warp to warp, and woof to woof in the two pieces of muslin. 
Have a small pearl button, and cut a slit in one corner of the practice piece the 
size for it and as near the edge as a buttonhole would come. Make the button- 
hole according to directions and round both ends. Diagonally cut another 
slit the same size, and make this buttonhole round on one end and barred on 
the other. In another corner put three eyelet holes, run them toward the 
center of the cloth, and graduate the size, that the center one may be the 
smallest. (Fig. 21.) In the fourth corner make three small loops, gradu- 
ating their size to balance the eyelets. In the middle of one side make a 
large loop, and sew the button in the middle of the cloth. The practice 
piece can be finished around the edge by the blanket stitch. The directions 
for eyelets loops, sewing on buttons, and the blanket stitch will be found 
below. 

Suggestion. — Good buttonholes require fine work. They take much pa- 
tience to learn. The work is not adapted to the lower grades of the school. 
Practice in the form of the stitch and also in the making of the entire button- 
hole may be given on canvas if it is found to be an aid. Besides the actual 
making of a successful buttonhole, the classes should have practice in spacing 
and cutting buttonholes in various materials. It is also well for them to have 
practice in making buttonholes in cashmere or other light wool goods. Let 
the piece for such practice be prepared with a lining as would be the case 
in a regular waist. Paper may be utilized for spacing and cutting button- 
holes where woven material cannot be provided. The practice piece ariven 
above is for teachers. It is too elaborate for most pupils even in the High 
School. They should only practice buttonholes when they wish to use one 
for the necessity of direct use is a great incentive in overcoming the difficul- 
ties. It is better also for them to practice the many varieties on separate 
pieces of cloth. 



EYELETS. 



Application. — A bag with eyelets to pass tape through and draw the 
opening together. 

Use. — A hole pierced in material and made strong by stitches around 
the edge of it. through which a tape or lacing-cord may pass. 

Kule. — Pierce the material with a stiletto until the hole will allow the 
lacing-cord to pass through easily. If a large hole is needed some of the 
pushed-back material on the wrong side must be cut away. For added 
strength the holes may be outlined with running stitches. The work over 




70 A SEWING COURSE 

the edge may be done in different ways. The buttonhole or the blanket 
stitch may either be used, or the hole may be worked over and over with a 
close overhand stitch. 

The buttonhole stitch with the purl turned toward 
the hole makes the strongest eyelet. (Fig. 21, Eyelet 
No. 2.) The upright stitches must be evenly spread 
apart as the purl is crowded into a smaller space. The 
needle is inserted first into the hole, and then into the 
material and the purl is drawn to the edge of the hole. 
The blanket stitch is sometimes used for the buttonhole 
stitch in this eyelet. 

The close overhand is also strong. It is the method 
usually adopted where a silk lacing is to be used. (Fig. 
Fig. 21. — Eyelets 21, Eyelet No. 3.) The work is done very close together, 
Nos. 1, 2 and 3. and the stitches are drawn tightly. 
Bittonhole. The buttonhole stitch with the purl turned away 

from the hole makes the most attractive looking eyelet. (Fig. 21, Eyelet No. 
1.) The needle is inserted first into the material and then brought through 
the hole to the surface and the purl is drawn into place beyond the hole. 
The work proceeds from right to left as in buttonholes. The upright stitches 
must lie close together to cover the raw edges and make the eyelet wear well. 
The work is fastened on the wrong side by a couple of double stitches. 

The depth of the stitch in all eyelets depends on the material on which 
it is made. The object is to protect the hole; the stitch must therefore be 
close and deep enough to accomplish this. The stiletto can be of use during 
the progress of the work to keep the hole round. 

Practice. — Three varieties of eyelets are to be worked on the buttonhole 
practice piece. 

No. 1. — Buttonhole stitch with the purl turned outward. 

No. 2. — Buttonhole stitch with the purl turned inward. 

No. 3. — A close over-and-over stitch. (See Practice — Buttonholes.) 



LOOPS. 

Application. — On a doll 's dress or garment in place of a buttonhole or as 
a hanger for a bag the stitch being made over a brass ring. 

Use. — Where a metal eye would not be attractive in certain garments, 
a silk loop is made to catch the hook. Loops are also used to take the place 
of buttonholes to stay the end of a placket, or to hold two folds of cloth 
together. 

Rule. — Determine the size of the loop necessary for the hook or button 
and the place it should occupy. Fasten the thread securely without a knot if 
possible, take three or four strands of stitches back and forth on the gar- 
ment, leaving them loose enough to catch the hook or button. Fasten securely 
at the opposite end that they may hear the strain to be put upon them. Make 
the buttonhole stitch or the blanket stitch over the strands. (See Blanket 
Stitch.) 

Practice. — ( See Practice — Buttonholes. ) 



SEWING ON BUTTONS 71 



SEWING ON BUTTONS 

Application. — On aprons, garments and travelling cases. 

Rule. — Buttons with four holes may have the stitches form a cross on 
the face and two diagonals at the back, or may have two parallel stitches on 
the face and a cross at the back. The cross stitches should be in the direc- 
tion of the warp and woof. Use double cotton and fasten it securely in the 
right side of the material directly under where the button will go. It is well 
to put a pin on top of a flat button or under one which is concave and to 
make the stitches over the pin so that the button will not be fastened down 
too tight. When sufficient stitches have been taken withdraw the pin and 
pass the cotton several times around the stitches beneath the button to form 
a stem or shank. This protects the stitches and makes room for the button- 
hole or loop. When the button is sewed down tight, it is apt to pull off, 
bringing a piece of the band with it. Fasten off directly under the button 
or on the wrong side in one of the diagonal stitches. The wrong side should 
be very neat. 

Buttons with two holes have the stitches running the warp way of the 
material. Buttons with a shank should have the stitches over and over the 
shank in such a way that the rubbing of the buttonhole will be against the 
shank rather than against the stitches. Cloth buttons often are made with 
material on the Avrong sides in place of a shank; these are sewed on in the 
same way. but looser than a shank button, so a stem can be formed by wind- 
ing the thread around the stitches. 

Practice. — A four-holed button is to be placed in the middle of the but- 
tonhole practice piece. (See Practice — Buttonholes.) 

Suggestion. — The sewing on of buttons may be taught to young chil- 
dren. Let them practice with four-holed buttons, shoe-buttons and cloth but- 
tons. With older classes, practice on spacing and cutting buttonholes may 
be accomplished by sewing on buttons to correspond. In light-weight ma- 
terials a staytape will often be needed between the lining and the cloth to 
hold securely the buttons. 



BLANKET STITCH OR FLAT BUTTONHOLE 
STITCH. 

Application. — Canvas napkin rings, mats and cases, the bottom of flan- 
nel skirts and jackets and in embroidery on linen. 

Use. — For finishing raw edges in place of overcasting. It is also used 
ornamentally as in scallops on flannel or by a network of stitches over a 
surface. A neat way of joining the edges of Hamburg trimming is to button- 
hole or blanket stitch the edges together very closely. 



72 A SEWING COURSE 

Fitness. — It holds an edge from raveling and at the same time deco- 
rates it. When worked close together it is very strong and durable as well 
as beautiful. 




Fig. 22. — Blanket Stitch. Fig. 23. — Scallops. 

Rule. — It is worked from right to left or left to right, the latter being 
the more usual way. The work is held over the first finger of the left hand 
with the raw edge toward the worker. The upright part of the stitch is at 
right angles with the raw edge (Fig. 22) ; the loop goes over the edge. The 
needle is inserted as far from the raw edge as the depth of the stitch chosen. 
To fasten the thread in cloth or flannel (in canvas a knot has to be used) ; 
make a running stitch toward the edge, insert the needle again at the same 
place as before and take one stitch toward the edge, slip the thread under 
the needle and make a loop. Insert the needle at the same height as the last 
stitch and as far to the right (or left) as desired, making a loop in the thread. 
Continue the stitches the same height and the same distance apart. In a cor- 
ner three stitches should come in the same hole to make a neat turn. When 
a new thread is to be taken, fasten off the old thread back of the last upright 
stitch. Begin the new thread by a running stitch back of the last stitch, catch 
the new thread through the loop and proceed as before. 

Varieties of the Stitch. — The depths of the upright stitches may be 
varied at regular intervals and make a most attractive effect. An ornamental 
network also can be made by catching succeeding rows of the stitch in the 
previous row. In using the blanket stitch for scallops in embroidery (Fig. 
23), the upright part of each stitch lies close to the next. It must be crowd- 
ed on the inner edge of the scallop to have the outer edge firm and substantial. 
When the point of union between two scallops is reached, the last blanket 
stitch can come directly at the point of junction, or each succeeding scallop 
can begin again at that point and give an overlapping appearance. The last 
is the richer effect. In flannel garments scalloped at the edge, the material 
below the scallop is to be cut away. It is better not to cut too close until 
the flannel has been once washed. 

Practice. — (See Practice — Buttonholes, Embroidery on Flannel or unite 
two pieiees of Hamburg edging.) 

Suggestion. — The blanket stitch is very useful in early primary grades. 
It may be used to finish the edges of burlap mats, leaves for needlebooks, book- 
marks, blankets, bookcovers and napkin rings. Variation in the length of 
the stitches may also be suggested by the children. In raffia work this stitch 
may be used in picture frames, or to hold together the bundles of raffia, for 
making hats, mats and baskets. 



PLACKETS 73 

Nos. 29, 30, 31. PLACKETS. 

Use. — The opening made in certain parts of garments which gives 
greater freedom in slipping them on. Skirts and petticoats, shirt sleeves, 
drawers and chemises, have these openings. 

Fitness. — The piece of material set on or folded over strengthens the 
garment where it has to bear a strain and is liable to be torn and the in- 
creased size of the opening gives comfort. 

In full-sized garments the length of the placket depends on its use. The 
object should be merely to have the parts slip on easily and to avoid unnec- 
essary length. 



PLACKET No. 1. 

MATERIALS FOR PRACTICE. 

Gingham oe White Muslin, Cotton, No. 80-100. Needle, No. 9-11. 

4x4 Inches. 

Application. — On a petticoat either full or small size. 

Use. — For finishing the vent in certain skirts or for the opening in the 
back of men's shirts. 

Practice. — Cut a slit 2X' 2 inches down the middle, or one-half inch to the 
left of the middle, of the warp of a piece of gingham or muslin 4x4 inches. 
Put a narrow hem down the left-hand side of the slit, sloping it to nothing at 
the end. On the right-hand side of the slit make a hem which will be half an 
inch wide its entire length. When the end of the cut is reached, fold the 
whole width of the right-hand side over the left-hand side. This will make 
a pleat in the muslin below the end of the vent (some prefer the left side 
folded over the right). Securely fasten down the broad hem over the narrow 
by a line of stitching stitches at right angles with the hemming-stitches and 
over the end of the slit. Make another line of stitching stitches which will 
slant from the end of the fold of the hem, where the other stitching stitches 
ended, to the hemming stitches and will form the hypothenuse of the angle 
made by the junction of the hemming stitches with the first line of stitching 
stitches. This will make a more secure finish than double parallel lines of 
stitching stitches. 

Suggestion. — In full-sized garments the broad hem in this placket varies 
from 1 inch to 1% inches in width. The length varies from 5 inches to 10 
inches, according to the requirements of the garment. 

Garments containing plackets of this character should be brought to the 
class for illustration. It is well also for the classes to make small white petti- 
coats, gingham dress skirts or flannel skirts which will apply this principle. 
This first placket is so simple that application on a small garment does not 
need to be preceded by making the practice piece. Making the placket in 
paper, where the subject is discussed freely, is sufficient preparation for its 
utilization on the small garment. A placket is more satisfactory in the back 
of a petticoat than a gusset, on account of the lapping over of the material 
in the former. 



74 



A SEWING COURSE 



PLACKET No. 2. 



MATERIALS FOR PRACTICE. 



Gingham or White Muslin, Cotton, No. 80-100. Needle, No. 9-11. 

4x4 Inches. 

5Vixl^4 Inches (lower facing). 

'dy^x-iy^ Inches (upper facing). 

Application. — On the vent at the wrist of a shirt sleeve. 

Use. — Opening of shirt sleeves. The under facing makes a strong finish 
which will launder well and the upper facing makes the appearance attractive. 

Practice. — Take a piece of striped gingham or white muslin, 4x4 inches 
(if gingham is used care must be taken throughout to match the pattern).) 
Cut a 21^-inch slit along the warp lengthwise of the material 2 x /o inches from 
the right-hand side. (If this slit should be cut down the center of the piece, 
the placket when completed will not be well placed.) Lay the long strip of 
muslin to the wrong side of the model at the right-hand side of the vent, 
making the raw edges even. Make a narrow seam (running and baekstitck- 
ing) from the top of the model to the end of the cut. Turn this facing over 
on the right side of the cloth leaving the folded edge on the wrong side ex- 
tend the width of the seam beyond the sewing. Turn in the opposite edge 
of the facing ] * of an inch its entire length. Stitch it down on the right 
side and when the bottom of the cut is reached, stitch across the facing at 
right angles to the vent. This disposes of half of the long strip. Turn it 
back «n itself, having both raw edges turned into narrow folds to correspond 
with the turns in the half of the facing just completed. Baste the unfinished 
side of the vent to the facing as it turns back, being careful that it lies flat 
and that the raw edge of the vent is far enough over on the facing to be strong. 

Take now the upper facing, turn the Ion?; edges so that the width will 
exactly correspond with the part of the lower facing which turns back. Lay 
it on the lower facinp:. Directly below the vent the outer facing should be 
turned into a point. (Fig. 24.) This point can be made exact by (1) turn- 
ing the facing baek at right angles where it reaches the end 
of the vent and making a crease, and (2) by 
terial below the crease on both sides diagon- 
ally into angles, the straight sides of which shall rest on 
the crease. Where the diagonals cross will be the true 
point. Cut the material ' '* of an inch below the cross- 
ing of the diagonals. The upper facing should be 
basted carefully to the lower around the edges and 
the point should be adjusted and basted on the ma- 
terial below the vent. The entire upper facing should 
then be stitched around the sides and point. In large 
garments the work would be done by machine. 

Suggestion. — In large garments the length of this 
placket is about 4 inches, the width varies from 1 inch 
to ILj inches. 

The upper and lower facings may be cut in one 
piece, but the fitting is more difficult than with the 
two pieces. 



turning the ma- 




Fig. 24. — Folding 
of the Point in 
the Upper Fac- 
ing. 



PLACKETS 75 

Where gingham is used the upper facing must be cut according to the 
pattern; it must exactly match the main part of the cloth over which it 
extends. 

A small sleeve may be made by each child and the placket put in that, 
or a small shirtwaist may be made at this time. 

The front of a shirtwaist is frequently made with a box pleat 1*4 to l 1 /^ 
inches wide. This pleat is usually stitched on each edge. The buttonholes 
can be made in it or an extra lap may be made underneath for them. If the 
material is not wide enough to make the pleat, an extra piece may be added 
which will fold under the pleat and not show. The other side of the shirt- 
waist which goes under the box pleat may be turned into a 1-inch hem, or 
if too narrow for that, a supplementary piece may be added, turned back 
and stitched down either on the right or wrong side of the cloth as desired. 



PLACKET No. 3. 

MATERIALS FOR PRACTICE. 

White Muslin, Cotton, No. 80-100. Needle, No. 9-11. 

4x4 Inches. 

Finish, No. 1. 5x1 inch on a strip of muslin with one side selvage. 
Finish, No. . 2. 5x2 Inches. 

Application. — On the vent of a pair of drawers, a doll's skirt, or a child's 
dress. 

Use. — Especially adapted to children's drawers on account of its strength 
and the complete closing of the vent by the lap underneath, formed by the 
turned back strip. It is also used in white petticoats and in cotton dress 
skirts. 

Practice. — Cut 2y 2 inches in the middle of a piece of muslin 4x4 inches. 
The vent may be finished in one of the following ways : Finish No. 1. Take 
the strip, 5x1 inch, put a narrow hem one-half way down it or use the selvage 
piece. Lay the opposite raw edge of the strip on the left-hand side of the 
vent with the right side of the strip lying against the right side of the cloth. 
Baste it so that the edge of the strip will be just below the raw edge of the 
vent (as for a fell). Begin at the ends of the slit and make a narrow fell 
with the cloth hemmed down on the strip. This disposes of but one-half of 
the strip. Begin at the edge of the vent and with the running and back- 
stitching sew the remainder of the raw edge of the strip to the opposite side 
of the vent in order that when the seam is pressed open this part of the strip 
will make a lining to the right-hand side of the vent. This will turn the 
strip back on itself. Hem the lining down by turning in the raw edges or 
hemming down the selvage strip. Where the strip turns back at the bottom 
of the placket it must be hemmed or stitched neatly and closely to the cloth. 
When the placket is completed the faced part of it on the right-hand side lies 
above the lap made by the first half of the strip. Where the strip turns back 
there is always a small fold in the cloth made by the fell, a loop made of 
buttonhole stitches can be placed at this point and add materially to the 
strength. 



76 A SEWING COURSE 

Finish, No. 2. — Take the strip 5x2 inches, lay one raw edge of it on 
the right side of the material or garment along the entire vent and baste it 
neatly, being careful to hold it well at the bottom of the slit before continuing 
up the other side. Sew it with one of the strong stitches, such as the stitching- 
stitch, and then turn the opposite raw edges of the strip just over the seam 
and hem it down the entire length. When finished, the strip will fold back 
on itself, as in finish, No. 1, but it does not need to be hemmed down to form 
a lining as in that method. Arrange the placket so it will look neat on the 
right side and make a loop of buttonhole stitches across the end of it to 
strengthen it. To keep the strip well in place make on the wrong side of 
the placket a slanting line of stitching-stitches which will hold the strip 
together without interfering with the size of the opening. 

Suggestion. — In full-sized garments this placket varies in length and 
width according to need. In cotton dress skirts the strip is often made of 
double material. In ehihlrens drawers a broad piece of tape more than twice 
the length of the vent is sometimes used to stay the material by extending it 
down one side of the vent across the bottom by turning it twice back on itself 
and up on the other side. Neither this means nor the gusset have the advan- 
tage of completely closing the opening. 



GUSSET 



77 



No. 32. GUSSET. 



MATERIALS FOR PRACTICE. 



Cotton, No. 80-100. 



Needle, No. 10-11. 



Muslin, 

Ax-i Inches. 

Diagonal op a 2y 2 Inch Square. 

Application. — In place of the placket in a skirt, at the end of seams and 
under the arms. It is not in frequent use. 

Use. — A gusset is a small piece of material (usually triangular) put in 
the openings of sleeves, shirts and drawers, to increase the width and to 
strengthen the garment. 

Fitness. — The upper part of the triangle overhanded into the seam or 
into the cut on the right side of the garment, and the lower part of it, which 
turns back as a lining on the wrong side and acts as a stay, give great dura- 
bility to the seam. 




Fig. 25. 



Fig. 27. 



Folding op the Gusset. 



Rule. — To fold a trianglar gusset, take a triangular piece of muslin and 
(1) turn a narrow fold on all three sides of it (the two sides first and then 
the base). (2) Make a crease exactly through the triangle from the apex to 
the base.( Fig. 25.) (3) Turn the apex down to about % of an inch at the 
base. (Fig. 26.) The new triangle thus formed is the gusset proper, while 
the remainder will serve for the lining or stay. (4) Turn each point of the 




base into another equilateral triangle, which will make the piece hexagonal 
in shape. Cut off the unnecessary material in this new turn so it will leave 



78 A SEWING COURSE 

only a small fold. (Figs. 27 and 28.) (5) Place the apex of the triangle 
(with the folds turned to the wrong side of the garment) at the end of the 
seam or of the cut needing strengthening. Overhand it on both sides from 
the apex to the crease made when it was folded into the second triangle. 
(Fig. 28.) (6) After the triangle is overhanded, turn the remaining part of 
the gusset to the wrong side of the garment, baste it carefully, placing the 
lengthwise crease at the center of the seam or the cut, and laying the side folds 
of the gusset so they will extend along warp and woof threads. The lining 
must lie perfectly flat. Hem it down carefully. (Fig. 29.) (7) Put a line 
of stitching on the right side of the garment across the bottom of the gusset 
where it folds back. This will keep it flat and improve the appearance. 

Practice. — Take a piece of muslin 4x4 inches. Cut it in half down the 
warp threads, join the two pieces together li'o inches in an overhanded fell. 
(See Overhanded Fell.) Turn narrow hems on the raw edges of the practice 
piece below the fell. The end of the fell will need to be cut across so the hems 
will lie quite flat. For the gusset, take the diagonal of a 2%-inch square of 
muslin. Fold and insert according to the rule. 

SUGGESTION. — There are other varieties of irussets besides the triangular 
line. A square of muslin is sometimes used with a small diagonal cut from 
one corner. It is inserted in the same way as the triangular gusset. A square 
piece is also used by turning it diagonally and inserting it in the seams under 
tin' arms of night dresses, chemises and shirts, to give more room. A gusset 
may also he cut with the sides extended into a facing. This variety is some- 
times used in children's drawers. The gusset gives room and the facing ex- 
tends up each side of the opening and acts as a stay. 

The gusset is less used than formerly. Plackets are found to serve the 
purpose better", as they keep the openings closed while strengthening the 
material, and in drawers and skirts, are more satisfactory. 

A pusset is not difficult to insert if all the steps are understood and if 
the folding is carefully done. Blackboard diagrams are a help in making the 
Steps clear. Garments with gussets inserted should be shown to the classes. 

It is not necessary to teach the gusset in the course in the elementary 
school. Teachers, technical students and trade workers should know how to 
make it. 



SEWING ON TAPE 



79 



No. 33. SEWING ON TAPE 

MATERIALS FOR PRACTICE. 

Muslin, ox2y 2 Inches. Cotton, No. 70. Needle, No. 9. 

Tape (\ 2 Inch wide,) 
5 Inches. 
3 Inches. 
Application. — On towels, dusters and skirts. 

Use. — To fasten tape securely so it may serve for strings for under- 
clothing, aprons and other garments, or for loops to hang up clothing and 
household articles-. It is also used to strengthen the edges of material. (See 
Placket No. 3.) 

Rule. — The free ends of the tape intended for strings must always be 
finished neatly or they will fray. They may be folded down and hemmed or 
turned into a point and overhanded or hemmed. The end to be fastened 
down is usually placed on the wrong side of the garment. If there is a 
hem on the article a short distance from the edge, the end of the tape may 
be turned in, laid against the hem and hemmed down on three sides. (Fig. 
30.) At the edge of the garment it may be overhanded or stitched. In place 
of the hemming for holding down the tape the stitching stitch may be used. 
It must always be perfect on the right side of the garment. To do this the 
tape must be laid flat on the wrong side of the article with its raw edge to- 
ward the end. The stitching is done on the right side through the tape. The 
tape may then be turned back so it will cover the stitches. The sides may 
be hemmed and the edge of the article overhanded or stitched to the tape. 
When loops are to be placed on towels or dusters, the center of the piece of 
tape is turned diagonally back on itself and forms a point. (Fig. 30.) The 
ends of the tape are laid side by side on the wrong 
side of the material and hemmed or stitched down 
as described above. The edge of the material is 
stitched or overhanded to the loop. Where the two 
pieces of tape join, they may be hemmed together 
or held down with cross stitches. 

Practice. — Take a piece of muslin 3x2i/ 2 inches, 
turn and base a ^-inch hem on one long side. 
A loop and a string of tape are to be sewed to this 
hem. Take five inches of tape for a loop and fold 
it diagonally in the middle according to the direc- 
tion above. (Fig. 30.) Turn in the raw edges 
and y 2 an inch from one side of the muslin, lay 
the ends of the tape side by side with their folds 
on the hem of the muslin. Hem the muslin across 
neatly and strongly, being careful to hold the tape 
down with the hemming stitches. Hem each side of the tape to the muslin 
and the two pieces of tape together. At the edge of the muslin overhand 
the tape to the hem. Take the 3-inch piece of tape for a string. Lay one 
end on the wrong side of the hem (Y 2 inch from the loop) with its raw edge 
toward the end. Stitch it down closely just where the hemming is and make 
the stitching perfect on the right side. Turn back the tape so it covers the 



Fig. 30. — Loop op Tape. 



80 A SEWING COURSE 

stitches and after hemming each side, stitch the tape to the muslin on the 
right side near the edge of the fold. Fold the raw edge of the tape into a 
point by turning the width of the tape diagonally into a true bias and this 
again into a triangle, and overhand it across the bottom of the triangle anil 
along the one side. 

Suggestion. — In dressmaking, the loops or hangers on a skirt are usually 
laid flat on the under side of the belt and sewed strongly to the belt near the 
side seams, or one loop may be placed in the middle of the back. They are 
cut about four or five inches long, which allows for the turning in at each 
end. They are hemmed or stitched into place. In waists, hangers are usually 
placed in the seams of the sleeves ; they may lie flat as in the skirt, but usually 
the tape is doubled diagonally and the ends are placed exactly together. They 
may be stitched in with the sleeve or strongly overhanded to the seam. For 
hangers for coats the flat loop and the diagonal sleeve loop are both used. 

Tape is also used to strengthen the sides of an opening by having it ex- 
tend up both sides after being folded in the center diagonally as a loop is 
made and laid flat below the opening. 

In children's work strings of tape may take the place of buttonholes in 
dolls' petticoats. Little towels or dusters with loops of tape may be made 
to apply various stitches. 



TUCKING 81 

No. 34. TUCKING 

MATERIALS FOR PRACTICE. 

Muslin, 6x5 Inches. Cotton, No. 80-100. Needle, No. 9-11. 

Application. — On aprons, dolls' clothing or underclothing. 

Use. — Folds taken on the right side of material for ornament; or as a 
means of disposing of material until it is needed to lengthen the garment; or 
to narrow a garment in place of gathers. They are used principally on chil- 
dren's clothing, undergarments and cotton dress. 

Tucks may vary in depth from 1-16 of an inch to a couple of inches. 
The distance between them is a matter of choice. In wide tucks one-third 
to one-half of their depth is usually left between them ; in very narrow ones 
the space between may be the same as the depth. Groups of narrow tucks 
are frequently made with the fold of one reaching to the sewing of the one 
below. The sewing, however, must not be covered. 

Rule. — Decide on the size and distance apart of the tucks and make a 
gauge (a card with notches in it) to indicate (1) the depth, (2) the sewing 
and (3) the distance apart of the tucks. If there is a hem on the garment 
below the tucks, place the end of the gauge on the sewing of the hem, make 
the first notch at the distance from the hem to the inner sewing of the tuck 
added to the depth of the tuck. Put the second notch at the depth of the 
tuck. The third and fourth notches will repeat the distance of the first and 
second. These notches will be the indication for two tucks. After that the 
tucks can be indicated by folding together the wrong side of the material at 
the first tuck below the one to be folded and creasing, making pin-pricks or 
pencil marks at the fold of the second tuck below. When the gauge is made, 
place the card on the hem (or any point selected beyond which the tuck is to 
be made) and, with a strong pin prick through the material at the marks on 
the card, moving it gradually across the material. Make a crease from one 
pin-prick to the other. The first crease will be the depth of the tuck, the 
second the sewing, the third will be the depth of the second tuck, the fourth 
the sewing. The tucks are usually sewed on the upper side through the dou- 
ble material with the running stitch or by machine. They should be as care- 
fully folded to a thread as possible, especially in narrow tucks where a small 
variation in the thread is quite noticeable. 

Practice. — Take muslin 6x5 inches, place a hem at the bottom which will 
be % of an inch deep when finished. It should be folded as exactly as pos- 
sible. Three tucks, % °f an mcn i n depth with % of an inch between are 
to be placed above the hem. This will make the inner sewing of the tuck % 
of an inch above the sewing of the hem ; the tuck will, when finished, cover 
half of this space and the other half will be the space between the tuck and 
the hem. If a gauge is needed for these narrow tucks, the first mark would 
be % of an inch above the mark for the hem (the distance between the hem 
and the inner sewing of the tuck, i. e., y± of an inch added to the depth of 
the tuck, i. e., Vs of an inch) . The second mark would be % of an inch above 
or the depth of the tuck; the third mark would be % of an inch above the 
second mark, and the fourth mark % of an inch beyond the third, making in 
all one inch from the hem. Prick with a pin at the marks, moving the gauge 
across the material. The third tuck can be measured from the others (see 



82 A SEWING COURSE 

rule). A tape measure can be used in place of the gauge for these narrow 
tucks. Great care must be taken in folding to a thread, if possible. Sew with 
the running stitch on the outside of the tuck. "When the tucks are finished, 
prepare the upper part of the material for putting on a band. (See No. 35.) 

Suggestion. — Illustrations of different varieties of tucking should be 
brought to the class for discussion. It is also well to provide paper so that 
each member of the class may have experience in spacing tucks from some 
design of her own. and also may learn to notch the card for the gauge. 

Garments which are too short or too narrow may be increased by adding 
new material and hiding a seam under a tuck. This method of repairing 
should be discussed. 

Knots are sometimes used in tucks to begin the running stitch, but a 
neat fastening is preferable. 



No. 35. PUTTING ON A BAND 

MATERIALS FOR PRACTICE. 

Muslin, 2}4xl Inch. (Utilize practice piece No. 34.) 

Application. — On aprons, skirts and other clothing. 

Use. — A narrow strip of cloth, folded over to cover the plain or gath- 
ered raw edges of material and to bind the garment together; a means of 
fastening a garment in place as well as of supporting and strengthening it. 

Varieties. — The setting in of gathers or hemming; the stitched-on, and 
the overhanded band. 

Rule. — As the band needs to be strong it should be cut along the selvage 
or the warp of material (the selvage itself would better be cut off as it is 
usually tuo heavy). The width of the band depends on the place for which 
it is intended; the length (in cutting) is generally from one to two inches 
longer than t he place it is to occupy. This allows for turning in at each 
end and for the lapping over of the band. The raw edges of the band should 
I..- folded down firsl from j s to V4 °f an i ncn along the length and then the 
ends may be turned in. The corners can be mitered (see Mitering) if the 
lull Is of the rlnth coming together make it too thick. The band must now be 
folded together along its length with all the raw edges inside. The ends may 
be basted together or overhanded before the band is placed on the garment, 
as it helps to keep it in place. Divide the band in half and again in quarters 
and mark with cross stitches. Take now the garment on which the band is 
to be placed. Spread the material as desired on the gathers (if there are any) 
and stretch and pin the length of the band to it. The garment should be 
already marked in halves and quarters, as the band is marked, if the full- 
ness is to lie evenly distributed along the band. If the front is to be plain 
and the fullness gathered into a few inches in the middle of the back a care- 
ful calculation of the amount of the material to go into each quarter of the 
band must precede the matching of the halves and quarters of the band and 
garment. 

Setting in op Gathers. — After preparing the band, place the gathers 
within it, matching the marked halves and quarters; baste the right side of 
the band to the gathers so that the gathering stitches are just covered. Begin 



PUTTING ON A BAND 83 

as for the hemming stitch and take a few small hemming stitches in the end 
of the band, holding it to the gathers. After these stitches are made instead 

of slanting the stitch on the right side put it 
vertically from the band into the space between 

v v ^ each gather (Fig. 31), and slant it on the wrong 

, , , /^• i ^^^^ t - r ^ >> side into the band just above the next gather. 

This will make the shape of the stitch like the 
letter N. Each gather should stand by itself 
and the stitch should show very little. The 
wrong side of the band can be sewed on the 
same way or it can be hemmed. The band on 
the wrong side must not extend below the band 
on the right or the stitches will show on the 
right side. The setting in of gathers has to a 

■p IG 01 Setting in of great extent taken the place of the old form of 

Gathers *^ e hemming stitch for fastening a band to a 

garment, as it is more attractive. If the hem- 
ming stitch is to be used, in place of the setting in of gathers, the preparation 
will be the same, but the stitches used to hold down the band will be regular 
hemming stitches. 

Stitching or Backstitching on the Band. — Prepare the band carefully 
(see Rule). The ends need not be basted or overhanded together all the way 
down. The halves and quarters of the band should be matched to those of 
the garment. Lay the right side of the band against the right side of the 
garment with the crease in the folded edge of the band exactly over the 
gathering stitches. Baste the band to the garment through the crease, being 
careful to keep the gathers evenly distributed. Turn the garment around 
so the gathers are toward the worker and hold each gather to the band with 
stitching or backstitching. On completing the stitching, take out the bast- 
ings, press the right side of the band back to the line of stitching and baste 
across the fold thus made; if the band has not been stitched on straight, it 
will show when it is pressed back, for it will overhang in places. It should 
be straight with the crease. Careful basting in the first place will aid in 
this. The back of the band can be hemmed in place and the ends overhanded. 
(For the use of the stitched band see description of Apron — Whipped Hem.) 
Overhanded Band. — In dress skirts, gathering is sometimes done on dou- 
ble material. The band in this case is overhanded on. Prepare the band as 
before, baste it together and overhand the ends. Match the halves and quar- 
ters of the band with the garment and lay the band with its double edges 
against the right side of the gathers and pin it in place. Overhand each 
gather to the band, holding the band toward the worker. 

Practice. — Take the practice piece for No. 34. First turn down the raw 
edge into a crease to make a line on which the gathering stitches shall go. 
Take double cotton, make a knot in the end and take through the crease the 
irregular running stitch ; the longest part of the stitch may be about 1-16 of 
an inch. Draw up and stroke (see Rule — Irregular Gathering — Running 
Stitch). For the band take a piece of muslin 2 1 /o inches along the warp and 
one inch along the woof, fold the band, turning in % of an inch along the 
length and at each end. Put on the band according to the rule for setting 
in of gathers. 



84 A SEWING COURSE 

Suggestion. — The secret in making a band look well is the careful fold- 
ing, preparing and basting. Haste in the first steps is apt to give bad results 

Bands are made usually of straight material. Narrow binding to finish 
garments is cut on the bias. In gathering material for a band from twice 
to twice and a half the length of band is the usual allowance. 

A tucked apron or petticoat could be made at this time in place of the 
practice piece. 



DARNING 



85 



Nos. 36 and 37. DARNING. 



MATERIALS FOR PRACTICE. 



Stockinet, 4x4 Inches. Fine Darning Cotton. Needle, No. 7-10 or 
Warp Threads of Muslin. Long-Eyed Darner. 
Colored Cashmere. Warp Raveling op Cashmere. 
4x4 Inches. Silk op the Same Color. 

Application. — Stockings, knitted underwear or sweaters brought from 
home. 

Use. — Darning is the repairing of fabric by inserting new threads into a 
place which has been rubbed thin or worn into a hole. It differs from patch- 
ing in that the broken part is woven back, while in the latter a piece of the 
same cloth is inserted into the hole. Knitted and woven materials are both 
usually mended in this way. 

Fitness. — As it imitates the original texture it is almost invisible and 
the manner of weaving the threads makes it strong. 

Varieties. — (1) Running Darn. Thin places in stockinet or in woven 
material, and broken places in the latter may be strengthened by running 
darns. A number of lines of running stitches are placed close together over 
the worn part on the wrong side and the stitch and the space alternate in 
succeeding rows. In stockinet, small loops should be left at the end of each 
row to allow for stretching or shrinkage, and the edges of the darn should be 

waved or diamond-shaped so the strain will be 
distributed. (Fig. 32.) The plain running 
stitch may be used in stockinet or ascending and 
descending loops may be taken with each stitch. 
In woven material the shape of the darn may 
be square and the loops need not be long. 

(2) Stocking-web Darning. This manner 
of darning reproduces the original knitting of 
the garment. It is the method employed in fac- 
tories where the machinery has torn the fabric. 
It is much used in countries where hand-knitted 
garments are used. It is a more difficult pro- 
cess than the ordinary way of inserting warp 
and woof and unnecessarily tedious where the 
darning of ordinary stockings or sweaters is con- 
cerned. The method is to clear away loose ends 
of the stockinet until the hole is square or ob- 
long. Strands of thread are then stretched 
across the hole from the ascending and descend- 
ing loops and the knitting stitches are built up 
with darning cotton on these strands. The 
strands are carefully removed when the knitting is completed. This method 
is difficult and is not taught generally in the schools of the United States. 

(3) Warp and Woof Darns. This is a method in general use for re- 
pairing both stockinet and woven material. It may be plain weaving or it 
may accurately reproduce the pattern, as is often done in fine damask. (See 
Weaving.) In stockinet the warp threads may be inserted in the ascending 




Fig. 32. — Running Darn 
in Stockinet. 



86 A SEWING COURSE 

and descending loops of the knitting, or, where this is difficult for beginners 
or unnecessarily exact for the class of material, an alternating running stitch 
may be used for both warp and woof. 

(4) Diagonal Darns in Stockinet. A rapid means of darning stockinet, 
and one which is sometimes used to good effect, is to insert threads diagonally 
across the hole in the stockinet instead of placing them lengthwise and cross- 
wise of the knitting. A very elastic darn is thus made. Care must be taken 
to catch every loop as the stitches cross the hole. 

(5) Cloth Darns. These may be made by carefully inserting the broken 
threads. Plain or pattern weaving, or fine drawing may be used. (See Warp 
and Woof Darn and Fine-Drawing.) 

(6) Kid Glove Darn. A slit in a kid glove may be neatly darned by over- 
handing the broken parts together. Where a hole is worn or more room is 
needed, the blanket-stitch can be made close together around the hole and held 
together by catching the loops, or succeeding rows of the stitch may be caught 
one in the other to form a lace work. 

STOCKINET DARNING. 

Rule. — (Catching ascending and descending loops. Fig. 32.) Carefully 
investigate the material to find the character of the threads, as the new threads 
must resemble those of the stockinet. Fine darning cotton doubled is more 
satisfactory than coarse darning cotton. It is better to work on the wrong side 
of the stockinet. The position is over the first two fingers of the left hand or 
the stockinet may be basted to a card. Egg-shaped and other darners are apt 
to stretch the stockinet and the darn does not lie flat. The hole must first be 
neatly cleared of loose ends and made as regular in outline as possible. If it 
is very large, strands of thread may be thrown across the hole to keep it in 
shape, or a thread may be inserted around the edge of the hole catching each 
loop and closing it without puckering it. (These threads are to be cut out 
when the darn is completed.) 

On the wrong side of the stockinet one row of the loops of the knitting 
turns up and the next turns down. (Fig. 32.) Thin parts of the stockinet 
beyond tlie hole must be covered by a running darn. The material must not 
be made any heavier than it was originally. Begin at the lower right-hand 
side of the hole. The ends of the darn should be diamond-shaped or wavy 
(Fig. 32), so the strain will not be along one line of loops. Beginners may 
stretch a thread in diamond shape about the hole and darn inside of that. 
The longest part of the diamond will be above and below the center of the 
hole. Insert the needle in the loops that, turn upward taking every other one 
in coarse knitting and every third or fourth in fine. On returning take the 
loops thai turn downward, alternating the stitch with the preceding line. All 
the warp tin-ends are woven in first. The darning threads must pass through 
the loops on the edge of the hole; if they are not caught the darn will not be 
strong. Insert the woof threads when the warp threads are all in. Begin at 
the top of the darn as far from the hole as is needed to strengthen the material. 
Lay the woof threads close enough together to make the woven part over the 
hole as strong as the original texture. The point of the needle may serve to 
lay the threads into a close web as the batten does in the loom. In weaving 
in the woof threads in a very large darn, it is well to begin in the middle 
instead of at one end. as the bole is more apt to keep its correct shape. Loops 



DARNING 



87 



must be left in the darning cotton as the thread turns back in both warp and 
woof so as to allow for the stretching of the stockinet and the shrinking in 
washing. The darn should lie perfectly flat. 

Practice. — Take a piece of coarse stockinet, 4x4 inches. Cut a few 
threads in the center of the web and the broken ladders can then be stretched 
into a hole. Repair according to the rule, catching the loops and making a 
diamond-shaped darn. As the material is new the darn does not need to ex- 
tend far beyond the hole. 

DARNING WOVEN MATERIAL. 

Rule. — Woven material which has been torn may be repaired by weaving 
back the broken threads. In fine damask where a small hole has been torn 
the entire pattern may be woven back, but in most instances a plain darn is 
adequate for the purpose. Where there is a worn place or a slit rather than 
a hole a plain running darn will suffice. The repairing thread should repro- 
duce the original as nearly as possible. The raveled warp threads of the same 
material give the most satisfactory results. Wool may be threaded by waxing 
it or by twisting a cotton thread in with it. If wool raveling cannot be obtained, 
silk (one shade darker) niay be split into thirds and one-third used for the 
work. Silk, however, catches the light and shows more than the raveling of 
the material. Whatever threads are broken should be replaced as closely as 
is needed to hold the material well together. A few rows of stitches are often 
enough to hold a slit together in wool materials where the strain is not great, 
but in cottons and linens a close mass of replaced threads is necessary to sustain 
the strain of laundering. If threads are severed in one direction only, such 
as warp threads, those alone need to be replaced. If both warp and woof 
threads are broken both must be reinserted. The work is done on the wrong 
side of the cloth as far as possible. A running stitch is made back and forth 
over the tear, leaving a little loop each time the direction is changed. The 
distance beyond the tear covered by the darn depends on the strength needed. 
In new material a few stitches on either side of the break are enough. It may 



I . I . I . • . I . R-i -rT-rLv 

m-2 



<c-K3 



Fig. 33. — Darning of a 
Hedge Tear. 









Mm? 

N f&LTWTJ> b 
,1,11.1 i iu 

Fig. 34. — Darning of a Diao- 
onal Tear. 



be necessary, however, to strengthen weak threads by carrying the darn some 
distance beyond the tear. In some materials, such as damask, when the edge 
of the slit is reached the thread should go over on one side and under on 
the other, alternating this in succeeding lines (see Fine-Drawing ). In cloth 



88 A SEWING COURSE 

it is well to bury the stitches in the material. The work must be carefully 
done so that the darn will be nat and the edges will be neatly joined together 
and not frayed. The stitch should show little on the right side. In a hedge 
tear (two sides of a square) both warp and woof threads must be inserted at 
the corner where the two breaks join. This will make a square warp and 
woof darn at the corner. (Fig. 33.) In a diagonal tear (Pig. 34), the same 
condition usually must be met, i. e., warp and woof threads are to be inserted. 
The warp threads are put in first as far beyond the slit as need be, the woof 
threads need not be so numerous as the warp, but should be sufficient to keep 
the slit from stretching in that direction. At times one line of repairing threads 
can be omitted or this class of tear can be darned diagonally across the ma- 
terial, but at right angles with the cut. A hole which is too large for ordinary 
darning may need repair. It is often better to place a piece of the same 
material underneath and darn down the raw edges on it than it is to hem 
or overhand a patch on the garment. The piece placed at the back must 
exactly match the original. It should be so placed that the right side of it as 
well as the warp, woof and ply (if it has any) should match the surface. This 
piece may be carefully run on to the body of the garment with an irregular 
running-stitch showing as little as possible on the face. Warp raveling of the 
material may be used for the darning which is done on the right side, the raw 
edges should be overcast. The ragged edges should be cleared from the hole. 
The loops must be taken under the surface and the stitches must not extend 
across the patch if the darn can be made strong without it. A human hair 
can be used for darning with excellent results. 

Practice. — Take a piece of colored cashmere, 4x4 inches. Four holes are 
to be cut in it. One can be placed in each corner. (1) A slit across the warp 
threads. This may be darned on the wrong side with warp ravelings of white 
muslin to clearly indicate the stitches. They should show as little as possible 
on the right side. A running darn is to be used. It is to be placed back and 
forth along the warp as these threads are severed. When the edge of the slit 
is reached let the alternating rows of stitches go under and over the edge. (See 
Rule for Darning Woven Material.) (2) A diagonal severing of warp and 
woof threads is to be repaired. (Fig. 34.) Work on the wrong side of the 
material. Replace the warp threads tirst. then the woof with the alternating 
running stitch according to the rule. Use warp ravelings of cashmere. (3) A 
"hedge tear. Half of this tear is along the woof, the other half is along the 
warp. Use warp ravelings of cashmere or split silk one shade darker than the 
material. Work on the wrong side of the cashmere. Replace first the warp 
threads and then the woof with the alternating running-stitch, making a square 
darn at the point where both the warp and woof threads are severed. (Fig. 
33). (4) A worn place too large for ordinary darning. Cut a small hole in 
the material ; place a piece of it at the back and repair according to rule. 

Sicgkstiox. — The darning of fine material, whether in stockinet or woven 
cloth, requires judgment, patience and control of the hand. It is, however, 
possible through lessons in weaving and coarse sweater darning to give a good 
preparation for it. In early primary grades the lessons in weaving (see 
Weaving) should be connected with ideas of repairing. Knitting also should 
be contrasted with weaving as a 7neans of constructing material. A toy used 
by children for knitting horse lines will serve to make clear the difference 
between the construction of knitted and woven material. It is only a spool 
with four pins in one end arranged at equal distances around the hole. If a 



DARNING 89 

larger spool is used and more pins are added a little form like a golf stocking 
can be made easily by the children. The repairing stockinet by a warp 
and woof darn may be discussed and by the third school year coarse sweater 
material may be darned. Steps such as these make a foundation for the pre- 
sentation of the subject in a later grade. 

"With classes that are not expert in hand work, with younger children, 
or with poor varieties of stockinet, a running darn in and out of the material 
may be used in place of the more difficult variety where the loops of the knit- 
ting are caught wiith each stitch. 

It is well for classes to have experience beyond merely practicing darning. 
Let them bring from home stockings, knitted underwear or woven garments, 
and repair them in the class or let them make small parts of garments such 
as sleeves, skirts, waists, drawers, etc., and darn them in various ways. This 
will give them experience in the judgment of ways and means of repairing 
which cannot be obtained from a practice piece cut from new material. 
The schools fail often to make the lessons in darning practical, through omit- 
ting the discussion of the problems which are met in the home. The teacher 
must have these points considered. Lessons in patching can well be given at 
the same time as the two methods of repair are almost inseparable. 

Where a large hole is worn in a stocking or in knitted underwear a piece 
may be set under and patched down with the herring-bone stitch. (See Flan- 
nel Patch.) Care must be taken that each loop of the stockinet is caught or 
the ladders will stretch into a hole. 

A review of weaving or the presentation of darning to an older class who 
know nothing of the principle of it should follow an outline of thought such 
as the following. The following is given as a suggestion for organizing dis- 
cussion and for developing thought. The standpoint is of a class who have 
had a preparation for the subject in early grades. A part of the outline can 
accompany each one of a series of lessons or the teacher can set different sub- 
jects from it for the class to think over and discuss. 



OUTLINE OF WEAVING AND DARNING. 

I. WEAVING. II. KNITTING. 

Illustrations. — Woven materials of vari- Illustrations. — Stockinet, knitted under- 

ous kinds such as canvas, plain wear, sweater material, spool knitting, 

weaving in muslin and wool, diagonal pictures of knitting machines, blaek- 

and pattern material ; a loom ; pic- board diagrams, etc., 

tures of looms, illustrations on the (I) Recalling Early Work. 

board. Golf stocking knitted on spool, and 

(I) Recalling Former Work. sweater material darned. 

1. Kindergarten paper weaving, weav HI. DARNING STOCKINET. 

ing rugs and mats on cards and the T „„ „.„,„„„ o<. 1 • i. j ■ ~ 

, ° ? • Illustrations. — Stocking-web darning, 

loom, darning on coarse sweater ma- ,., , , , , 6 . , , ' 

ferial children 's work from various schools, 

stockinet and sweater material and 

(II) Topics for Discussion. samples of the darning of them; 
1. The loom, warp, woof, shuttle, selv- blackboard illustrations, etc. 

age, batten, treadles and the inter- (I) Connecting the new Subject with 
lacing of threads; setting up a loom; Weaving and Knitting. 
ways of distinguishing warp from (II) Stocking-Web-Darning (for pur- 
woof without the selvage; the differ- poses of comparison), 
ence between basketry and weaving, 1. Use of this manner of darning in 
and the difference between plain and knitting-factories. 
fancy weaving. 2. Method of repairing discussed. 



90 



A SEWING COURSE 



(III) Wabp and Woof Darn. 

1. Investigating the material and the 
hole to be repaired. 

(1) Ascending and descending loops, 
ragged edges of the hole and quality 
of repairing thread needed. 

2. Method of repairing. 

( 1 ) Ways from which to choose. 
a. Running darn. 

6. Picking up the ascending and de- 
scending loops, 
c. Diagonal darn. 

(2) Steps in the work. 

a. Darning thread to be used. 
6. Position of hand. 
c. Inserting warp threads. 
(a) Preparing the hole. 
(6) Strengthening the material be- 

youd the hole, 
(c) Crossing the hole. 
I. Catching all loops on the edge 
of the hole. 



II. Leaving loops of the repairing 
thread on the edge of the darn. 
((J) Shape of the darn. 
d. Inserting the woof threads. 



IV. 



DARNING WOVEN 
MATERIAL. 



Illustrations. — Various woven materials, 
school work of children. Materials 
and garments darned in different 
ways, blackboard diagrams and pho- 
tographs. 

(I) Connecting this Subject with For- 

mer Ones. 

(II) Method op Repairing. 

1. Replacing the exact pattern by weav- 

ing back. 

2. Replacing broken threads by a warp 

and woof or diagonal darn. 
• (1) Break across the warp, break 
across the woof, break diagonally 
across both warp and woof, a hedge 
tear and darning in new material. 



PATCHING 91 



Nos. 38, 39, 40, 41 and 42. PATCHING. 

Use. — A piece set in a garment to take the place of a worn or torn part. 
A patch is used when the hole is too large to be darned. 

There are many ways of patching. Different kinds and values of ma- 
terials and the amount of strain which will be put upon the repaired portion 
call forth different treatment. The repairing necessary in garments when 
certain parts have worn out and must be replaced, such as cuffs on shirt 
waists and hems on skirts, is also called patching, but it requires special 
knowledge of the making of the different parts needing renewing. 

General Rules. — It is better to take an old piece of the same material 
for the patch as the new will often tear away the fabric. If the old cannot 
be obtained, new material of a lighter quality than the original condition of 
the old will serve better in a very old garment than the original. The pat- 
tern, if there is one. should be very carefully matched; the right side of the 
patch should come on the right side of the material; warp threads should 
join warp threads and the woof, the woof. If there is a nap, as in flannel, 
it must run the same way as it does on the garment. 

The worn place must be examined to decide on the size of the hole as 
well as on any weak parts beyond it which may need strengthening. The 
character of the material and the strain it must bear, must be considered to 
determine the manner of repairing. "When the garment is very old, worth 
little trouble, and does not have to be laundered, the simplest means of patch- 
ing may be used, such as running or hemming the right side of the garment 
to the patch and overcasting the raw edges on the wrong side. If, however, 
the material is of value, the strain on the place small and the repair must 
be as invisible as possible the patch may be cut the exact size of the hole, 
and darning or fine drawing may be used to hold it in place. "When a very 
substantial patch is needed in a garment which will be laundered, a quite 
different treatment will be required. In such cases both the right and the 
wrong side of the garment must be strong and complete. To prepare for this 
there must be careful calculation of the exact size needed for the patch. The 
hole and any weak parts must be covered and folds must be turned in on 
the garment and on the patch. The thread for repairing depends on the 
character of the material. Where seams are to be made fine, strong thread 
should be used. 

When the size of the part needing strengthening, the manner of repair- 
ing it and the recniired dimensions of the patch have been considered, the 
hole must be prepared for patching. If a square or oblong patch will serve 
best, the center of the place needing it must first be found. A crease (or a 
line of basting stitches) should be made down the warp through this center, 
and another crease should be made along the woof. Both creases should ex- 
tend well beyond the hole. Where the lines cross (or should cross if a hole 
is worn) is the center of the hole. The hole must now be cleared and pre- 
pared. It is usually cut square or oblong (circular patches are seldom de- 
sirable. Irregular edges are sometimes left in wool material which is to be 
darned down on the patch.) The piece cut out of the garment may be used 
as a guide in matching. If, however, a hole has been worn, the repairing 
material can be slipped underneath and the pattern matched. The center 
of the patch as well as the garment should be indicated by creased or basted 



92 A SEWING COURSE 

lines. Measure the patch from its center along the creased lines and cut it 
out as exactly as possible. Prepare it according to its special requirements. 
When folds must be made on the raw edges of the patch, turn two opposite 
sides before folding the clear sides over them so there will be regularity at 
the corners. The creased lines in both the garment and the patch should make 
the final matching an easy matter. 

Suggestion. — Patching requires judgment on the part of the worker. 
It is not enough to simply teach a child how to make a certain kind of patch 
under given circumstances. She should have experience in deciding what to 
do. It is better not to rely on dictation for teaching the subject. Each step 
should be thought out and various kinds of holes cut by the children, so they 
may learn to calculate the size of the patch for themselves. 

The same kind of hole in varying materials necessitates an entirely dif- 
ferent treatment. Fur illustration, where a worn place in silk merely requires 
a piece of the same placed underneath, matching the pattern, but held down 
with a minimum of stitches showing on the surface, a similar worn place in 
a linen pillow-case must be patched and strongly sewed, with hems turned 
back, that it may stand the laundry. Comparison of ways of repairing, as 
well as much practice, should be given to the classes. Darning and patching 
are often required on the same worn place. The classes must consider how 
best to preserve garments. A good gown is often ruined by poor repair. 

Repairing of parts of garments such as cuffs, hems, collars and under 
arms, should be discussed also by the classes. "When a patch is to be put 
under the arm. the seam should be opened, the material separated from the 
lining, the patch inserted and the parts again united. The teacher should 
bring to the class garments requiring repairing of various kinds and also 
examples of patching. The children should also, when possible, bring small 
garments needing repairing from home. Small articles or parts of garments 
can be made in the class and repaired. The whole subject should have thor- 
ough discussion. 

Practice in paper is an excellent means of teaching patching. Manila or 
striped tissue paper may be used. In classes where there is not time to make 
all the different kinds of patches, certain varieties may be made in paper 
alone so the children may get ideas on methods of handling. 

Circular patches are sometimes used in table linen, in the knees of boys' 
trousers and in the elbows of their coats. The wear on these points makes 
it sometimes desirable to have seams turned in the eloth. They can be stitched 
in. stretched into shape usually without nicking, dampened and pressed with 
a hot iron. 

As the object of patching is to make an invisible repair, the material to 
be used for the patch should be as similar to the garment as possible. The 
use of old material, the washing of the new or the fading of it in the sun 
often helps to accomplish this. 

Note. — It is advisable that each one who will make the following kinds of 
patching should vary the place and the shape of the hole to be repaired and 
decide for herself on the size of the repairing piece. For the sake of clearness 
a definite shape will be described in the practice pieces. 



HEMMED PATCH 93 



HEMMED PATCH. 

MATERIALS FOR PRACTICE. 

Striped Gingham or Cotton, No. 80 or 100. Needle, No. 10 or 11. 

Plain Muslin. 
4x4 Inches or any size desired. 

2i/ 2 x2io Inches. (This is a little large but it allows for fraying.) The size 
of the repairing piece depends on the hole and must vary with the wish of 
the worker. 

Application. — On real garments, parts of clothing or on household linen. 

Use. — For repairing underclothing, aprons, household linen and other 
washable articles. Outer garments are rarely repaired in this way as the 
patch shows too much. 

Fitness. — The counter-hemmed fell, covering all raw edges, makes a 
strong patch which will stand repeated laundering. 

Rlxe. — The shape of a hemmed patch is usually square; it may also be 
oblong if a slit has been torn down the garment, or it may be triangular as 
in an under-arm patch where the seam makes the third side. The General 
Rules (which see) for the size of the hole, the kind of repairing material, 
the matching of the pattern, and the creasing of the garment and patch, must, 
all be followed. Careful calculation of the size of the patch is needed before 
cutting. Allowance must be made for (1) the hole; (2) the folds to be taken 
on the sides of the hole; (3) for the width of the fell (it may merely cover 
the folds or it may extend over worn material beyond the hole) ; (4) for 
folds on the patch. (In most cotton and linen materials y$ of an inch is 
wide enough for a fold.) This patch is placed on the wrong side of the gar- 
ment. 

The pattern must be matched before cutting and the garment and the 
patch prepared by creasing them along both warp and woof. (See General 
Rules.) The actual repairing may be done in two ways: (1) The hole in 
the garment may be cleared and made ready, the corners nicked and the folds 
turned back before the patch is prepared and put on the wrong side. (Chil- 
dren have more difficulty with this way of inserting the patch, as the right 
side easily stretches out of shape and makes it hard to match the pattern.) 
Or (2) The repairing piece may be prepared, matched by the creases to the 
back of the garment and hemmed neatly into place before the worn material 
is cut away on the right side. This is the easier way of repairing, but there 
is the danger of pushing the scissors through the patch while cutting the 
worn material from the face. The worn part must be cut very carefully, 
allowance being made for folds on the worn part and for the width of the 
fell. When the cutting is over, the corners must be cut diagonally, small 
folds turned in on all four sides and the whole hemmed neatly and firmly 
to the patch. If a hole has not been worn in the garment a little one should 
be cut in it before the patch is put on the back to allow the scissors to be 
inserted. In both methods of inserting this patch the repairing piece is pre- 
pared by turning toward the right side of the material narrow folds on the 
raw edges. A little miter may be taken from each corner to keep them from 
being clumsy after folding. The corners must be strong. The width of the 
fell beyond the hemming on the right side must be the same on all sides. 



94 A SEWING COURSE 

In strong linen patching an overhand and fell seam is used instead of 
the counter-hemming just described. The preparation is the same, but on 
the right side the overhand stitch is substituted for the hemming. 

Practice. — Take muslin or gingham 4x4 inches. Indicate on it in pen- 
cil or with a basting thread the possible shape of a hole or worn place. Crease 
the material through the center of the proposed repair, along warp and woof. 
Measure along the creases to the edges of the indicated hole to get the size 
which must be covered. If a piece is cut out use it as a guide in matching 
the pattern. Carefully consider the size to cut the patch, (1) the size of the 
hole; (2) i/y of an inch from each side of the material for the turn — % inch; 
(3) a /4 of an inch for the width of the fell on each side — % an inch; and (4) 
's of an inch fold on each side of the patch — Vi of an inch. Taken together 
those equal the size and shape of the piece for the patch. If the material is 
new mi allowance need be made for worn material beyond the hole. Hem 
the patch on both sides according to the 1st or 2d method under the rule. 
The patch should be carefully pressed. 

Suggestion. — See under Patching on page 92. 



OVERHAND PATCH. 

MATERIALS FOR PRACTICE. 

Striped or Figured Cotton, No. 80-100. Needle, No. 9-11. 

Cloth (cotton or wool). Silk No. A (shade darker than cloth.) 

4x4 [NCHES or any desired size. 

L'^xl' 1 - Inches. (This is a little large but it allows for fraying.) The size 

of the repairing piece depends upon the hole. 

Use. — A durable, neat patch used principally for outer garments of vari- 
ous materials. 

Fitness. — The small overhand stitch shows little, yet makes a strong 
means of uniting the patch to the garment. 

I J ile. — The General Rules for the size of the hole, dimensions of the 
patch, the matching of the pattern and the creasing of the garment and patch 
must all be followed. In this patch the edges are not turned in on the wrong 
side, hut they are overcast or have the blanket-stitch over them. Larger folds 
than in the hemmed patch must therefore be allowed on both the garment and 
lie patch — 14 to% of an inch according to the fraying of the material. The 
patch is sometimes inserted from the wrong side. It is easier, however, to 
insert it from the right side. The slight imperfection arising from the show- 
ing ef the slanting part of the overhand si itch is offset by the greater diffi- 
culty of setting the patch in satisfactorily from the wrong side. 

In calculating, the size of the patch, the hole, the worn part beyond, and 
the allowance for good seams on both srarment and patch, should be considered. 
If no hole is worn in the garment, cut a small hole in the center of the worn 
part and use this piece to match the pattern. Crease the garment, cut the 
patch and crease it. (See General Rules.) Prepare the patch by turning 
good folds (toward the wrong side of the material) on all its four sides. Lay 
the patch on the right side of the garment with the folds turned inward, 
baste carefully and overhand the patch to the garment, being care- 
ful to catch with the stitches the square folds at the corners of the patch. 



OVERHAND PATCH 



95 



Turn to the wrong side, insert the scissors into the hole and cut the garment 
to within the same distance of the overhand stitches as the width of the folds 
turned on the patch. Cut diagonally in each corner toward the overhand 
stitches and press the raw edges of the garment beyond the patch. (Fig. 35.) 

This will make the entire patch slip into 
the hole and therefore show little on the 
right side. Press carefully. 

In placing the overhanded patch 
on wool material, warp ravelings of the 
cloth may be used for the sewing in- 
stead of split silk. 

Practice. — If material needing re- 
pairing cannot be provided, take a piece 
of striped or figured cotton or wool ma- 
terial. Crease it through the center 
along warp and woof. (See General 
Rules.) Indicate on it in pencil or by 
basting the shape of a hole or worn part. 
Cut a small hole in the center (if one 
is not already worn) large enough to 
insert the scissors. Consider the size 
of the place to be repaired; the size of 
the patch to cover such a hole would be 
(1) the dimensions of the hole just mentioned; (2) the folds on all four sides, 
i. e., 14 of an inch allowed on each side for the turning back of material 
after the patch is sewed on; (3) 14 of an inch on each side of the patch to 
allow for turns. Taken together these amounts equal the size and shape of 
the repairing piece. This is for plain material that does not fray, larger 
seams must be allowed for loosely woven material. Figured material needs 
special consideration in matching the pattern. Prepare the patch and finish 
the work according to the rule. 

Suggestion. — See under Patching on page 92. 




Fig. 35. — Overhanded Patch. 
(Wrong Side.) 



FLANNEL PATCH. 



Use. — As flannel is not liable to fray, the raw edges of the garment and 
the patch may be held down with herring-bone stitches and still be sufficiently 
strong. 

Rule. — The hole should be cut clear of frayed material (it is usually 
square or oblong). The patch should be cut from % to % an inch larger 
than the hole, be placed directly over it without turning in any of the raw 
edges and be basted into place. Care must be taken in matching the right 
side of the flannel, the warp, woof and ply. The patch should be held in 
place on both right and wrong sides by a fine herring-bone stitch (see direc- 
tions) over the raw edges of the material. The stitch is usually strong enough 
if it goes through the material on one side only, and on the other side if it 
goes into but one thickness of flannel. For turning the square corners, see 
Fig. 42. The repairing thread is usually cotton or silk. 



96 A SEWING COURSE 

Practice. — As the herring-bone stitch will later be practiced in the 
Sewing Course, it is not necessary to make a special practice piece for patch- 
ing flannel unless the worker desires to do so. 

Stockinet and woven underwear may also be patched by using the her- 
ring-bone stitch. 

Suggestion. — It is well for a class to practice on the repair of knitted 
underwear using the herring-bone stitch over the raw edges. 



DAMASK PATCH. 



MATERIALS FOR PRACTICE. 



Damask. Flourishing Thread, No. 1000. VNeedle, No. 10. 

4x4 Inches or Ravelings of Damask (warp.) Fine Darning. 

ANY DESIRED SIZE. 

lxl Inch or depending on the size of the hole. 

Application. — On napkins, doilies and covers brought from home. 

Use. — -Repairing tablecloths, napkins and household linen, especially in 
fine closely woven damask. 

Varieties. — Damask patching should be as neat and invisible as possible 
on both sides of the material. The overhanded and felled patch (see Rule 
for Hemmed Patch) is frequently used, but shows too much for fine damask. 
The wrong side of an overhanded patch (see directions) is unsightly and 
therefore not fitted for table covers or napkins. When the hole in fine damask 
is not too large the pattern may be darned in. (See Weaving and Darning.) 
When a slit has been made in it the wrong side may be held together by over- 
casting, pressed open, and ravelings of the damask may be woven back and 
forth over the place on the right side, repeating the pattern as far as pos- 
sible. After washing and careful pressing, this repair should show very lit- 
tle. When there is a good-sized hole in fine damask, a strong and neat patch 
may be inserted by fine drawing. (Fig. 36.) The stitch may be used alone 
or combined with darning. 





Fig. 3G. — Fixe-Drawing. 



Fig. 37. — Darning by Fine Drawing. 



Rule for Patching by Fine-Drawing. — The damask should be as soft 
as possible ; it is therefore well to wash new or stiff material. Cut away the 



DAMASK PATCH 97 

worn parts. The usual shape is square or oblong. Cut the patch exactly the 
size of the hole, being careful to match the pattern, right side of damask, etc. 
(See General Rules.) Place the patch in the hole. If the damask is fine in 
quality and woven very close, fine-drawing alone may be used to hold the 
patch to the material. It is a simple, alternating stitch (Figs. 36 and 37) 
made toward the worker or away from her as in herring-bone. It is used fre- 
quently to hold together heavy cloth or selvages (see Suggestion for Seams). 
The stitches are usually made a little distance apart and slanting like a lac- 
ing (Fig. 36), but may be made close together and straight (Fig. 37). 

In cheaper qualities of damask, fine-drawing should be combined with 
darning for holding together the patch and the material. The darning should 
begin beyond the hole and the stitches and the loops where the thread turns 
back should be buried in the material as much as possible. When the darn- 
ing stitches are within a few threads of the hole, line-drawing should be 
taken over the edge on one side and under the edge, the same distance, on 
the other, continuing the darning in the damask on the other side. The darning 
stitches should end as irregularly as possible. The fine-drawing must be direct- 
ly along warp and woof, to show as little as possible (Fig. 37) and it must 
alternate in succeeding lines. The corners should be made secure by crossing 
the warp and woof darning at these points. If carefully done this darn 
should show little when the damask has been laundered. It is not as strong 
as the overhanded and felled patch (see Rule for Hemmed Patch), but is 
more satisfactory in appearance for fine damask. A fine darning needle is 
sometimes used in place of a sharp needle in this patch. Fine-drawing is 
also used for cloth patches. 

Practice. — Take a piece of damask 4x4 inches, cut a hole in the center. 
Cut a patch the same size and darn it in by fine-drawing alone or by fine- 
drawing and darning, according to the quality of the damask. 

Suggestion. — See under Patching, pn£*<> 92. 



CLOTH PATCH 

MATERIALS FOR PRACTICE. 

Wool or Worsted Ravelings op Cloth or Silk, No. A. Needle, No. 7-11. 
Suiting, 4x4 Inches. 
Size of patch depends on the 
kind of patching selected. 

Application. — Garments of wool or worsted brought from home. 

Use. — For repairing outer garments of wool or worsted. 

Cloth may be repaired in many ways according to the quality and value 
of the material and the wear which it will have to endure. The Overhanded 
Patch (see directions) is frequently used for light-weight cloths. Heavy 
cloth ma}' be repaired by fine-drawing (see Damask Patch) by burying the 
stitches in the thickness of the cloth and drawing them close together so the 
break will be almost invisible. Thin cloth, such as ladies' cloth, which may 
be too clumsy to turn into folds, may have the patch darned in. 

Darned-in Patch for Cloth. — The very worn part should be cut away 
(the hole is usually made square or oblong and cut clean. If it will show less 



98 A SEWING COURSE 

with irregular edges they should be left and carefully darned down.) The 
patch may be cut the same size as the hole, and darned in, or it may be 
cut y% inch larger than the hole. The pattern, the right side of the cloth, 
the warp, woof and ply, must be matched (see General Rules). When the 
patch is cut larger than the hole it should be laid over it on the wrong side 
and basted down. Turn the cloth to the right side and with ravelings of the 
material or with split silk of a shade darker follow the pattern as nearly as 
possible, darning the raw edges down to the patch. The stitches should be 
as invisible as the strength needed will allow. Turn to the wrong side and 
herring-bone the patch to the cloth. The stitch should not go through to the 
right side. Tin's patch is similar to the one described under Rules for Darn- 
ing Woven Material, Practice in Cashmere (4). 

Stitched Patch fok Cloth. 

Use. — For a patch which will show little but will bear hard wear. 

Rule. — This patch closely resembles the overhanded patch, but is stitched 
instead of overhanded. The stitch, therefore, does not show on the right side. 
Cut the worn part away. The hole is usually made square or oblong. Nick 
the cloth in each corner and turn back good folds (V4 to y% an inch). Cut 
the patch as for the overhanded patch (see directions). Lay it flat on the 
back against the turned-back folds on the edge of the hole. Pin it or baste 
il in place. Stitch the folds to the patch on all four sides. When the stitch- 
ins i.s done press open the scams on the wrong side. This will turn the patch 
back on itself. Miter the cloth in each corner of the patch so it will lie flat. 
The wrong side of the stitched patch will look very much like Fig. 35, except 
i!i" seam will show no stitches and the turned-back corners of the patch will 
be mitored instead of square. 

Practice. — Take a piece of cloth, 4x4 inches. Examine the weight and 
quality of it, decide on the kind of patch best adapted to it and repair accord- 
ingly. 

Si'ggestion. — See under Patching, page 92. 



FEATHER OR CORAL AND CHAIN STITCHING 



99 



Nos. 43 and 44. FEATHER OR CORAL AND 
CHAIN STITCHING. 

MATERIALS FOR PRACTICE. 

Striped French Flannel. Silk (color of the stripe). Needle, No. 8-9. 
(i/ 2 inch stripe) -4x4 Inches. No. A — B. 

Application. — On underclothing, baby clothes and small articles such as 
collars, cuffs and cases. 

Term. — The term Feather Stitch is derived from the graceful form of 
the stitch. Coral stitch is a more angular variety of it. 





Fig. 39. — Fancy Feather 
Stitching. 



Fig. 38. — Feather Stitching. 

Use. — An attractive stitch for ornamenting all kinds of needle-work. 

Fitness. — The form is attractive and can be modified to suit different 
occasions. It can be merely ornamental or can be made strong enough to hold 
down a hem in place of the hemming stitch. 

Rule. — The work is done on the right side of the material, toward the 
worker. In the single varieties of it the stitch is taken alternately on the 
left and on the right side of the pattern. The thread is caught in a loop with 
each stitch as in the blanket-stitch. The number of threads taken up each 
time depends on the pattern chosen. Feather stitching proper is taken diag- 
onally across warp and woof threads. (Fig. 38.) In the coral stitch variety 
the needle goes along a thread of the material. (Fig. 38.) (In the design 
the coral stitch is made double.) The stitch must be made accurately to look 
well. The width and relation of one stitch to the other never varies during 
the progress of the work. The position is over the first finger or first two 
fingers of the left hand. The work is begun with a knot or an end of thread 



100 



A SEWING COURSE 



may be left on the wrong side to be sewed down afterward. The needle is 
brought to the right side and inserted again a few threads distant, but on 
a direct line horizontally. The stitch is left loose while the needle is brought 
mil a lew threads below and caught through the loop in the thread. The 
variety in form is made by this downward stitch; it may be made vertically 
along a thread of the material or may be inserted diagonally toward the cen- 
ter of the pattern. A new stitch should begin at the same height as the bot- 
tom of the last on the opposite side of the pattern. (Fig. 38.) In fastening 
off take tin- thread to the wrong side and finish with a couple of backstitches 
under the last stitch, or. if using heavy crochet cotton, leave the end to be 
i down with tine cotton. In taking a new thread fasten securely and 
bring to the righl side through the last loop. Each of the single varieties 
may lie varied by taking from two to four stitches on a side. When this is 
done the stitehes must be placed close together (Fig. 39), or a straggly ef- 
l'e.-t will result. The patterns may lie again varied by uniting them with other 
fancy stitches such as the chain stitch and French knot. 

Practice. — Take striped flannel, 4x4 inches. Four varieties of stitches 
aie to lie placed between the stripes (in every other one the flannel being cut 
between the stripes). The work should be fine and dainty and the stitches 
may be arranged in the following order — (1) a row of chain stitching down 
the center I Pig. -11") ; (2) the single feather stitching made diagonally across 
the' threads (Pig. 38); (3) the single coral stitch (Fig. 38); (4) two rows 
meeting of fine treble feather stitching (Fig. 39). 

Si QGESTION. — Canvas may be an aid in learning feather stitching, and 
the details can be grasped by quite young children, but fine work on gar- 
ments requires expert handling. The stitch is used on all materials and may 
be worked in embroidery eotton. crochet cotton, silk, linen or wool. It makes 
■i very attractive trimming for underclothing; strips and bands may be fin- 
ished with it in place of stitching. In connection with drawn work beau- 
tiful effects can be obtained for children's clothing, underclothing or house- 
hold uses. May useful little articles can be made and ornamented with feather 
stitching. 

SMALL TRAVELING CASE. 

Take a piece of linen or soft colored cotton material such as chambray 
9x6 inches. At one end of it cut from each corner a triangle which will be l 1 /? 
inches on its straighl sides. Make a crease across the material i/o inch below 

the triangles. This will form the 
lap which will fold over the bag. 
(Fig. 40.) Make a narrow hem 
on the raw edges all the way 
around the piece and some va- 
riety of feather stitching just 
inside of the hemming, about % 
of an inch from the edge. (Fig. 
38.) Turn the piece wrong side 
out and fold it together so that 
the straight end meets the crease 

tt>.„ in n rp r, across the material below the 

Fig. 40. — Flat Traveling Case. , ■ , . n , , ., 

tnansulnr cuts. Overhand the 

sides together to make the bap;. Turn the right side out and let the lap fall 

over the pocket. 




FEATHER OR CORAL AND CHAIN STITCHING 



101 



Sew a tape or ribbou to the hem at the center of the lap and tie it around 
the ease (Fig. -40), or sew flat linen or lace buttons to the pocket below the lap 
on either side of the middle of the front and make loops of buttonhole-stitches 
in the lap to fasten over the buttons. 

COVER FOR TRUNK TRAY. 

Measure the length and width of a trunk tray or of the bottom of a 
bureau drawer. Add 2 ] /o inches to the dimensions in each direction to allow 
for the hems and cut from soft finished cotton material or from denim. Turn 
one inch hems up on the right side of the material (two opposite sides tirst 
and then the ends over them). Square the corners, overhanding the sides, 
or miter them according to Miter No. 2. (See No. 5.) Choose a variety of 
feather-stitching (see No. 43-44) or the herring-bone (see No. 45) and hold 
the hems down with it instead of the hemming stitch. Work on the edge 
of the hem, but not extending beyond. The stitches should continue to the 
end of the hems in order that they will cross each other at right angles at 
the corners. This cover can be made in small size (% of the usual dimen- 
sion) to serve as an example of the use of the stitch, if the teacher wishes 
to place it in an interleaved copy of the Sewing Course. 

Such covers are very useful for they keep the clothing in place and clean 
in travelling and the bottom of the drawer neat when at home. A soft green 
chambray with white feather-stitching is serviceable, but white soft finished 
cotton cloth ornamented in colored stitches is more attractive. The children 
should measure, select materials and stitches and decide on cost. 

APRON. (See Whipped Hem.) 

The hems on each side and across the bottom of this apron can be held 
down by feather-stitching instead of hemming. 

CHAIN STITCHING. 

Use. — As an ornamental finish on material and for marking linen. 
ROLE. — The stitch is made vertically and should be very regular. It is 
in the form of the links of a chain. (Fig. 41.) The needle is put back into 

the material in the same place, from which it 
came out. One stitch is taken directly below 
the other (toward the worker) and the thread is 
caught under the needle with each stitch. (In 
this way it resembles both the feather-stitch and 
the blanket-stitch.) Chain-stitch machines re- 
produce this appearance. The position is the 
same as in feather-stitching, but in each stitch 
the thread is held in place by the thumb. (Fig. 
41.) Begin and end as in feather-stitching. The 
stitch must not be drawn too tightly. 

Practice. — (See Practice, Feather-Stitch- 
ing.) 

Suggestion. — The stitch may be utilized in 

•cv„ At n^.^r (<„,„„„„» the classes on such articles as towels, napkins, 
Fig. 41. — Chain Stitching. , , . . „ ' l . > 

bags, underclothing and face cloths, where a let- 
ter can be drawn and the chain stitch used for outlining it. Cotton in fast 
colors should be used for this marking, and the stitch should be made small. 




HERRING-BONE 103 

No. 45. HERRING-BONE. 

MATERIALS FOR PRACTICE. 

Flannel, Silk A. Needle, No. 9. 

5^x2% Inches (two pieces) . Cotton, No. 60. 

Application. — On flannel skirts, a flannel patch or as decoration. 
Use. — (1) To hold down hems, seams and raw edges in flannel and other 
woolen materials, so that they may felt when washed and thus not ravel. 
(2) A means of lightly holding down materials of all kinds in place of hem- 
ming. (3) An ornamental stitch. 

Fitness. — Material made of wool is apt to shrink in washing. Ordinary 
stitches are unnecessarily strong and when used on wool would cause the 
material to draw after washing. The looseness of the herring-bone, combined 
with the natural felting of the flannel, makes the stitch a serviceable one for 
woolen fabrics. The attractive form, easily adapted to various positions, 
makes this stitch also useful as an ornamental finish. 

Kile for Herring-Bone. — The herring-bone (also called eatch-stiteh) 
is worked from left to right, or away from the worker. It is a sort of eross- 
stitch taken alternately from side to side. The position is over the first two 
fingers of the left hand. The form of the stitch may vary greatly in the 
length of the slanting line which connects the crosses on either side, and also 
in the distance apart of the crosses. When the stitch is once started the 
width of it and the relative position of the cross stitches on either side must 
remain the same. In the most usual form of the stitch the crosses on one 
side come exactly between the crosses on the other side, so that the bottom 
of the stitch on one side is directly opposite the top of the stitch on the other. 
On the wrong side of the cloth the stitch looks like two lines of running 
stitches. Begin at the extreme left of the material, and bring the needle 
through where the work is to begin. In each 
stitch the needle points directly toward the 
worker. Make an upward slanting stitch toward 
the left (or right, as the case may be), insert the 
needle in the material and bring it out directly 
along the warp or woof threads in as deep a stitch 
as desired. Take now a slanting stitch upward 
toward the opposite side on a line above the point 
where the work began, and bring the needle out 
the same depth as the first stitch on the opposite 
p I(3 _ 42. Herring-Bone. s 'de and on a line with the top of that stitch. Al- 
ternately take the stitch from side to side, pre- 
serving carefully the same width, the same depth of the stitches and the bot- 
tom of one cross-stitch directly opposite the height of the one on the other 
side. The stitch may be begun with a small carefully concealed knot or an 
end of thread may be left and sewed down afterward. In a hem a double 
stitch may be used on the wrong side for beginning, ending, and taking a 
new thread. 

In a flannel patch (see directions) the herring-bone stitch is used over the 
raw edges of the patch and of the garment. To make the corners of the 
patch neat the stitch should be turned carefully. (Fig. 42.) 




104 A SEWING COURSE 

Rules for Seams and Hems in Flannel. — Flannel has a right and a 
wrong side. In making up a garment the ply or nap should run downward. 
When joining seams, the ply must run the same way on both sides of the 
seam and the same side of the material must be turned outward (opinion 
differs as to whether the full ply side of the flannel should go next to the 
body). The felting property of the flannel makes it unnecessary to make a 
very strong seam. The running-stitch, with an occasional backstitch, is strong 
enough. A hem does not usually need to have two turns. The raw edge may 
be worked across with the herring-bone stitch alternately in garment and 
fold and be amply strong. The stitch taken in the fold may or may not go 
through to the right side of the flannel, according to the strength required. 
In a seam three methods of using the herring-bone are seen. (1) The seam 
is pressed open and the herring-bone stitch is made on either side over the 
raw edges. This method is strong and attractive, but takes time to complete. 
(2) A fell (see directions) is made in place of the ordinary seam and the 
broad fold is herring-boned down over the raw edge. This is a rapid and 
usual way of proceeding on ordinary garments. (3) The seam is pressed 
opc'ii and one row of herring-bone stitches placed down the center of the 
seam. This is a usual way of finishing flannel seams, but is not as desirable 
as tin' others, as the real object of the stitch is not accomplished, i. e., to hold 
down the raw edges of the flannel so they may felt in washing. 

Practice. — Take two pieces of flannel 5 1 / 2 ^ 1 A inches. Select either the 
first or second kind of seam described and put together the two pieces of flan- 
nel according to the rule. Cotton, crewel or silk thread may be used for 
the stitch. It should be made small and neat and should go through to the 
right side of the material on one side only. Turn up at the bottom of the 
flannel a one-inch hem and hold it down with the herring-bone stitch. Both 
sides of the stitch should go through to the right side. 

Suggestion. — The first practice on this stitch may be on canvas to ob- 
tain clear ideas of its shape and size. It may be made in this way by young 
children. Older pupils may begin on the canvas, if necessary, but should 
soon practice on flannel. It requires much care to keep the stitch even. 

Small flannel skirts or little sacks may be made and finished with the 
herring-bone stitch. 

The stitch is used in a variety of ways. In dressmaking or repairing 
it is used to hold parts of materials together, such as canvas, velveteen and 
wool materials to linings. It is used in mending worn silk by making a net- 
work of it on the wrong side, and in patching wool materials it holds in 
place the raw edges of the repairing piece. It is also used in millinery in 
place "F hemming, and in fancy work it has been adapted to a number of 
purposes, such as shadow embroidery in which the herring-bone stitch is made 
on the wrong side of sheer material and only the small stitch at each side 
'.'nes through to the right side. A soft shadowy effect is thus made which 
adapts itself to interesting designs. 

It is frequently called catch stitch instead of herring-bone. 






HEMSTITCHING. DRAWN WORK 



105 



Nos. 46 and 47. HEMSTITCHING. DRAWN WORK. 

MATERIALS FOR PRACTICE. 

Linen (very line and sheer), Cotton, No. 100-150. Needle, No. 10-12. 

4x4 Inches. 

Linen (moderately fine for drawing threads), 

5x4 Inches. 

Application. — On handkerchiefs, collars and cuffs, towels, doilies and 
fancy articles. 

Use. — For an ornamental finish for hems on handkerchiefs, household 
articles, such as towels, bureau scarfs and table covers ; bed linen ; fine baby 
clothes and underwear. Designs in Drawn Work more or less elaborate 
are used to decorate surfaces as well as hems. Hemstitching is used as a 
foundation for these designs. 

Rule for Hemstitching. — There are many ways of making the stitch 
which are equally good. Some of the more rapid ways do not hold the 
threads as distinctly apart as as the slower ones. The method selected is 
strong and satisfactory. In hems for handkerchiefs it is not desirable to draw 
many threads as the washing will loosen the undrawn ones and keep the stitch 
from looking distinct. Each stitch should have a clear wedge-shape. De- 
termine the width of the hem and draw out carefully several threads from 
the material where the double fold of the hem will come (i. e., allow for dou- 
ble the width of the hem and also for the little 
fold on the edge). Turn a hem on the linen 
to the edge of these drawn threads and baste 
carefully. If corners have to be folded the 
drawn threads in the hems will be double. The 
corners need not be mitered. Unnecessary ma- 
terial may he cut from underneath (see Miter 
No. 1), the ends squared and overhanded neat- 
ly. Begin as in hemming on the wrong side 
of the material. Decide the number of threads 
to be taken up each time and keep to that num- 
ber (it is not necessary to count the threads, 
the eye may be the guide). Fasten the thread 
in the fold without a knot. Hold the work as 
in hemming or turn the hem toward the body 
and draw the stitch well up to it. The object is to keep each stitch distinct 
from the other ; some workers prefer one position and some another. Put 
the needle under the number of threads selected and bring it out without 
catching it in the threads. Put it back over these same threads and under 
again as at first, but this time the needle should go through the folded hem 
beside the last thread. (Fig. 43.) The following stitches are taken in the 
same way. In hemstitching the corners of handkerchiefs more threads must 
be taken as the threads here are double. Make the hemstitching in the cor- 
ners look as distinct as possible. 

Rule for Drawn Work. — The basis of drawn work is hemstitching. The 
threads are drawn and fastened down on each edge with hemstitching. They 
may then be fastened or woven together in various ways to form a lacework. 




Fig. 43. — Hemstitching. 



106 



A SEWING COURSE 




Pig. 44. — Drawn "Work. 



The following description is of three simple patterns. No. 1. — Draw y s of an 
inch of threads, hemstitch across both edges taking up the same threads on 
each side. The effect will be a series of upright posts. No. 2. — Draw a little 
over Yg of an inch of threads. Make a double row of hemstitching as in the 
first pattern. One thread will connect the entire line in the finishing of the 
pattern. To accomplish this fasten the thread in the middle of the first bar 
or post, put the needle across two bars beyond, let 
it go over the third, then under, and back first 
over and then under the second. This will twist 
the third bar over the second with the thread 
through it. Twist the fifth bar over the fourth 
the same way and continue across the drawn 
threads. Fasten off in the last bar. No. 3. — 
Draw % of an inch of threads, hemstitch across 
one side. On the other edge take for the first 
stitch but half of the stitch below; for the second, 
make one stitch out of the halves of two of the 
stitches below. This will give a sort of herring- 
bone effect. These three patterns may make an 
attractive border by leaving a /4 of an inch of 
plain material between them. 

Practice. — First practice piece. A small 
hemstitched handkerchief. Take sheer linen 4x4 
inches. A half inch hem is to be placed on all four sides. Allow for the 
hem and small fold in the material (1% inches) and draw threads (between 
1-16 and % of an inch in fine material), on all four sides. Turn in a hem 
to the drawn threads. Baste carefully, especially at the corners, cut out 
some of the material from under them if necessary (Miter No. 1), but square 
and overhand them neatly. Follow the rule for hemstitching. 

Second Practice Piece. — Take linen 5x4 inches. A 1 inch hem is to be 
placed at the bottom and several rows of drawn work will ornament the 
material above the hem. The hem will be held by one pattern. Draw % 
of an inch of threads 2% inches from one end. Fold the hem to the edge of 
the drawn threads and baste carefully. Hemstitch the hem down with a 
moderately fine stitch. Complete the opposite side of the drawn threads 
according 1 to the pattern described under No. 1. Skip y± of an inch of linen 
and use No. 2 for the second pattern; again skip y$ of an inch of linen and 
use No. 3 for the final design. Fine feather stitching may be placed on 
the plain linen between the patterns, if desired. 

Suggestion. — Hemstitching may be learned very readily on canvas. 
It may be used in a number of ways. Coarse linen for toweling may be pur- 
chased and little towels with hemstitched hems may be made by the chil- 
dren. Simple drawn work may also be used in this way. The towels may 
be marked by using cross stitch, chain stitch or satin stitch for the letters. 
A letter may also be embroidered on the handkerchief. 

All the hems in the apron described under Whipped Hem may be hem- 
stitched. The stitch may also be used on small sheets, pillow cases, collars, 
cuffs and lingerie. Rows of simple drawn work with feather stitching be- 
tween make a most attractive finish for small linen articles such as cases 
of various kinds, bureau covers and tea table linen. 



WHIPPED HEM 107 



No. 48. WHIPPED HEM 

MATERIALS FOR PRACTICE. 

It is well for children to hemstitch the center of a handkerchief before 
the corners, as the latter are more difficult. Careful basting makes the work 
easier. 

Nainsook, Cotton, No. 100. Needle, No. 11. 

1x13 Inch. 

Application. — Aprons, underclothing and baby clothing. 
Use. — For gathering muslin, gauze, lace, -net and other soft materials. 
Fitness. — The raw edge of the material is rolled under and gathered 
at the same time. The stitch is particularly adapted to small ruffles of nain- 
sook, cambric and other sheer muslins. 

Rule. — Fine material is more easily whipped than coarse. The ruffles 
should be cut from selvage to selvage as the warp threads can be rolled more 
easily than the woof. The material should be cut to a thread. It may be 
torn into lengths and cut carefully afterwards. The strip for the ruffle is 
held with the wrong side toward the worker and the thumb and first finger 
of the left hand are used to turn the raw edge into a tiny roll. It is turned 
toward the worker. The thread is fastened in the end of the roll and three 

fine hemming stitches hold it in place. The 
whipping is begun by inserting the needle at 
the back of the roll in a slanting direction 
like an overcasting stitch and bringing the 
needle out (toward the worker) just under 
the roll. (Fig. 45.) The roll must never be 
caught with the stitch or the ruffle will not 
draw up well. The stitches must be very reg- 
Fig. 45.- — Whipped LTem. ular and not too close together. After an inch 

or so is whipped, gather up the ruffle on the 
thread and continue the rolling and whipping. The stitch is sometimes made 
by inserting the needle first at the front of the roll instead of at the back. 

It is better to use fine strong thread and not to take it too long, as the 
whipping thread is apt to break. The ruffle is usually cut twice or a little 
more than twice the length of the band. In sewing a whipped ruffle to a 
band, both ruffle and band should be divided into halves and quarters and 
matched the one to the other. Either the band or the ruffle may be held 
toward the worker. In the latter case, however, it is easier to regulate the 
ruffle. The overhand stitch is used to sew the ruffle to the band. The stitch 
must be taken so that the thread will fall into the notches between the whip- 
ping stitches. 

Practice. — Take 1x13 inches of nainsook. Roll and whip the edge ac- 
cording to the rule. If the ruffle is to be put to use, the hems should be put 
in before the whipping is done. This ruffle may be overhanded to the bot- 
tom of the apron described below. 

Suggestion. — The whipped hem is less used than formerly. It is, how- 
ever, an economical as well as strong way of neatly trimming underclothing. 
From 14 to % of a yard of nainsook will trim a night-gown. 




108 A SEWING COURSE 

Embroidered edgings of various kinds can be whipped and used on dif- 
ferent pieces of small underclothing to give practical application to the 
classes. Little pillowcases or aprons can also be made and trimmed with 
whipped hem ruffles. 



SMALL APRON OF FINE MUSLIN 

MATERIALS FOR PRACTICE. 

Dimity, Nainsook or Cotton, No. 100. Needle, No. 11. 

Barred Muslin. 
5x63 ' 2 Inches. 
6x1 Inch (band). 
6x1 V4 Inch (2 pieces for strings). 

Put Vs inch hems along the 5-inch sides of the muslin. Take a % inch 
hem at the bottom. Gather and stroke the top (see Running Stitch). Pre- 
pare the band for a Stitched Band (see Putting on Band). Draw the top of 
the apron in to 3 inches, stitch it to the center of the band, hem down the 
other side of the band to the gathers and overhand the sides of the band to 
the end. (See Application of Stitches — Aprons.) The strings may be pre- 
pared by putting narrow hems on the long edges and turning 1 [> inch hems 
at one end, the other ends will be inserted in the bands. 

This apron should apply some of the fancy stitches. A whipped hem 
raffle can h<- overhanded to the bottom; hemstitching can be used in place of 
hemming or the heme can all be held down with feather stitching. Each 
child should select her own method of finishing her apron. The materials 
are given for n doll's apron, but the teacher must use her discretion in giv- 
ing a full-sized apron in place of the small one. 



CROSS STITCH 



109 



No. 49. CROSS STITCH. 



MATERIALS FOR PRACTICE. 



Penelope Canvas or Scrim, 
5x5 Inches 



Colored Wool Tapestry Needle. 

(Crewel or Saxony.) 
Colored Silk EE. 
Application. — On towels, sheets, washcloths and household articles. 
Use. — For marking underclothing, holding bands to the seams of waists 
in dressmaking, and for an ornamental finish in fancy work. 

Fitness. — The form is attractive and the work is rapidly executed and 
sufficiently enduring for the purpose. 

Rule. — The stitch is double and consists of two slanting parts crossing 
each other on the right side of the material, and of two straight lines, which 
may be either vertical or horizontal, on the wrong side of the material. The 
points of the cross on the right side should, if enclosed, form a perfect square. 
In canvas the stitch is usually two threads high and two threads wide. (Fig. 
46.) The needle is brought out on one side and put through to the other 
diagonally — this forms one half of the stitch. It is now crossed in the oppo- 
site way. In a design the crossing must all be in the same direction and the 
wrong side must be neat. It is better to leave an end of thread to be worked 
over by the stitches than to begin with a knot. The fastening off can be done 
in the same manner. In marking, each cross stitch 
should be finished separately and the thread should 
not be carried from one letter to another. 

It is well to practice on canvas before mark- 
ing linen. Designs for the letters can be purchased 
or they may be originated by the worker. A piece 
of fine canvas or of coarse scrim can be basted to 
the linen over the place where the letters are to go. 
The cross stitches can be made on this canvas to 
keep the form accurate and when the letters are 
finished the threads of the canvas can be pulled 
out. leaving the design on the linen. 

Practice. — Take a piece of Penelope canvas 
or of scrim 5x5 inches. Turn a Vt inch hem on 
all four sides and hold it down with the cross 
stitching, alternating two cross stitches above and 
two below to make an ornamental finish on the 
edge. Care must be taken to adjust the stitches neatly at the corners; an 
extra stitch can often be taken here with good effect. On the inside of the 
scruare place the initials of the name and the year or other letters and figures 
may be made in cross stitches. 

Suggestion. — It is unnecessary for anyone to make the entire alphabet 
on the canvas as designs can be easily procured and the work is not difficult. 
This stitch is an excellent one for children in early grades to use on bur- 
lap. It allows of so much variation that they can easily invent designs of 
their own. It can be used to hold down the hems in cheese cloth dusters. 
In later grades it may be used for marking little sheets, pillow cases and 




Fig. 46.- 



-Cross Stitch. 



110 A SEWING COURSE 

towels. Care must be taken to choose a cotton thread for marking which 
will stand laundering. 

In dressmaking the cross stitch is used to make the inside of a waist at- 
tractive and. at the same time, to hold the belt to the seams. The stitch is 
made in silk of a color to match the silk seam binding, the overcasting, or 
the fans of stitches on the bone casings. 



Nos. 50 and 51. SATIN STITCH. TYING FRINGE. 

MATERIALS FOR PRACTICE. 

Li.ven. Cotton, NY>. 100. Needle, No. 8-10. 

6x6 ob 10x10 Inches D. If. C. No. 25-60 for Embroidery. 

No. 16 for the Filling. 
(Two fatten stamped in the center or at the end.) 

Application*. — Letters on handkerchiefs and household linen, decoration 
and lettering on underclothing, decoration on collars and cuffs. Fringe on 
towels and doilies. 

QSB. — F'>r marking handkerchiefs r.nd household linen and for orna- 
menting clothing, table covers and ecclesiastical draperies. It is used on all 
materials. 

Fitness. — The clns.' over and over stitch with or without a previous 
preparation in filling makes a substantial design which will wear for 
yean and have a chaste and beautiful effect. 

Rn.E for Satin Stitch. — Satin stitch (Fig. 47) requires patience to 
learn and skill in the working. It is usually worked in a frame. Hoops may 
be purchased in which the work may be stretched. For the marking of 
household linen, in letters of from one to two inches in size, it is possible to 
!>, good work without a frame. The stitch may be either flat or raised. In 
letters it is customary to fill in well the parts enclosed in double lines. The 
preparation must be done with the greatest care and precision as irregular- 
ities in the padding show in the finished work. Some workers begin by fol- 
lowing all the lines of the design with a short irregular running stitch which 
takes the slightest hold in the material and leaves the most of the stitch on 
the surface. When the design is in double lines the stitch is taken just in- 
side of the marking. In padding the space between the lines the outline 




SATIN STITCH. TYING FRINGE 111 

stitch (Pig I- or the chain stitch (Fig, \\ > are both used. The work must 
be done in the opposite direction from the Batin stitch and be kept within 
the Btamped lines. The lines of padding are made 
h|i and down within the space, and one row fits 
exactly into the other. The- number of lines of 
padding is increased where the letter widens and 
decreased whi re il narrows. In a wide portion 
era! rows of stitches may be piled one on top 
of the other so thai a rounded effect may be se- 
cured. When- reins occur in a leaf or a letter the 
line is left clear, bul the surface is well padded 
alongside of the vein. Finish all the filling of the 
letter before beginning the satin stiteh. The whole 
1 effect of the padding should be neat and compact, 

Fin. 47.— «r, Pilled; h, but the linen must not he drawn. 
Straight Satin Stitohj The satin stitch is taken from side to side of 

b, SLOPING Satin Stitch, the design and toward the worker. Very little ma- 
terial is taken up where the line is single. When 
the line is double the stitch is taken from line to line. Where veins occur 
the stitch will be taken from the outside to the vein or from the vein to the 
outside, according to the direction of the work. The stitches should be close 

her will t overlapping. The padding must be completely covered. 

The stitch may be al righl angles with the lines of the pattern or it may be 
slanted in either direction. When the letter has been begun, however, the 
same slant must he kept throughout, except where it has to be temporarily 
altered at the curves. The usual direction is at right angles with the lines of 
the design, i. < .. directly across the pattern. Where there are curves in the 
design, the stitches will need to be crowded on the inner side, but no gaps 
must occur in the outer edge. The work must be as smooth on the wrong 
side as on the right. Where single lines occur the satin stitch is also used. 
A very small hold should be taken in the linen and the stitches should have 
a smooth, cordlike effect. The irregular running stitch taken in the filling 
will help to secure the effect if it is carefully done. 

Begin the satin stiteh at the extreme end of some part of the pattern. 
To fasten the thread take a running stitch through the design to the point 
of beginning. If it is a curve care must be taken to keep the stitch con- 
tinually in the same relation to the pattern. Bring the needle to the right 
side and put it back directly opposite. Let the stitches closely follow one 
another. Draw them close that the outline may be clear and the work firm. 
The work should appear in the end like a solid mass and not have individual 
stitches pushing themselves into view. Finish off the thread in the work and 
begin another carefully either by a running stitch in the unfinished part 
or concealed in the finished work. Where a letter is not continuous the 
thread must not be taken across underneath from one part to the other unless 
the distance is almost imperceptible, but the thread must be fastened off and 
the work begun again. It is usually well to pad with rather fine embroidery 
cotton, as. with beginners, coarse cotton will often push up between the 
stitches. The experienced worker judges from the character of her design. 
Fine embroidery cotton should be used for the satin stitch on fine linen. 

Rule for Tying Fringe. — Draw a number of threads in the material 
where the top of the fringe is to come. The tying should be done before 



112 A SEWING COURSE 

raveling cmt the entire fringe. Fasten the cotton first in the solid material 
just above the drawn threads, and then in the drawn threads. The linen is 
laid over the first finger of the left hand and held tightly with the thumb 
and the second finger. Lay the cotton straight along the drawn threads, put 
the needle on the left side of the cotton, pass it under several of the drawn 
threads, bring it out under the right side of the cotton and draw it up tightly 
to hold the threads. This will make a tie in the cotton. Continue this on the 
four sides. Some prefer to hold the tied fringe close under the solid linen, 
others leave a small space between. For ordinary linen No. 100 cotton is 
fine enough for the tying. When it is finished, fringe out the linen. 

Hemstitching is sometimes used to hold the fringe in place of tying. 
A small overcasting stitch may also be used to keep the fringe neat when it 
is laundered; the effect is not, however, as good as the hemstitching or the 
tying. 

Practice.— Take a piece of linen 6x6 inches. It should be moderately 
fine and the threads should draw easily. If desired a piece of linen 10x10 
inches can be made into a face towel. Two letters from 1 inch to 2 inches in 
length should be clearly stamped on it. These letters should not be elaborate. 
The old English text is good. Carefully pad between the double lines and 
use the irregular running stitch on the single lines. Embroider the letters 
with the s;itin stitch according to the rule. When the letters are completed, 
draw five or six threads (on all four sides) about % of an inch from the raw 
edges. These threads should be tied before fringing (see Rule for Tying 
Fringe 1 ). When the threads are tied cut the raw edges carefully so they may 
be perfectly even, and draw the threads up to the tie. 

SUGGESTION. — Satin stitch for marking and fringe tying for the raw 
edges may be used on small towels, table cloths, napkins and doilies. The 
French convent embroidery used on underclothing is to a great extent made 
1 1 1 » of satin stitches, combined with French knots, blanket-stitches and others. 
Garments simply decorated in this way should be brought to the classes if 
possible and discussed. Art lessons should be utilized for designs for collars, 
cuffs, underclothing and blouses. The flax flower lends itself well for this 
purpose and linen is an excellent center for correlation with geography, his- 
tory, art and home. 



EMBROIDERY ON FLANNEL 



113 



No. 52. EMBROIDERY ON FLANNEL. 



BLANKET STITCH, OUTLINE STITCH, SATIN STITCH AND 

FRENCH KNOT. 



MATERIALS FOR PRACTICE. 



Silk, No. B-E. 

Wool ok 

D. M. C. No. 16. 



Needle, No. 6-8. 
Tapestry Needle. 



Flaxxei . 5x5 Inches. 
(A scalloped edge stamped on 
two sides and some simple 
designs in the center.) 

Application. — On a small flannel petticoat or baby sack. 
Use. — A scalloped border of blanket stitches is used to finish the raw 
edges of .many articles of flannel. It gives both beauty and durability to the 
raw edge and takes the place of a hem in heavy material which is too thick 
to fold well. Small geometrical or flower designs are embroidered on infants' 
sacks and petticoats for the purpose of decoration. 

Rules. — Scallops in Flannel are made with the blanket stitch (Fig. 23). 
The outer edge should be firm and substantial (see Blanket Stitch.) A pad- 
ding of wool or cotton may be made before the blanket stitch is used. "Wool 
is well adapted to the flannel, as it shrinks in laundering. An irregular run- 
ning stitch, leaving most of the wool on the' surface, is good for this purpose. 
The outline of the scallop and the space between may be filled according to 
the raised effect desired. The stamped form of the scallop must be carefully 
preserved. Very few filling stitches should meet where the design is narrow. 
A heavy silk such as No. E or No. EE is used for the edge. 

Designs on Flannel are principally worked with the satin stitch. It is 
seldom necessary to pad. Stems and outlines are made with the Kensington 
outline stitch instead of with the satin stitch as on linen. Small flowers and 
leaves may be merely outlined or the satin stitch may be used to cover the 
entire surface. In designs like the daisy form the satin stitch may begin at 
the center of each petal and be worked toward the edge, or a radiating stitch 
from the center out may be used. French knots are frecpxently used in flan- 
nel for one side of a leaf or flower, or for the centers of flowers. 

Kensington Outline Stitch. The outline stitch follows a traced line 
and is made away from the worker (Fig. 48). The needle is brought out at 
the end of the stem or line, a long stitch is taken 
ahead on this line and a short stitch back through 
the material. The stitch back may be made either 
to the right or to the left. The length of the stitch 
may vary according to the requirements of the 
design. The stitch resembles the backstitch turned 
wrong side out, i. e., the rope-like effect is on the 
right side of the material and the little stitches 
with a space between are on the wrong side. Where 
a very substantial stem is needed the outline 
stitches can be made very close together. The work 
is held over the first or first two fingers of the 
left hand. 

The French Knot. These are made in vari- 
ous ways. One way in general use is to fasten the 
Fig. 48.— Outline Stitch, thread well and bring the needle out in the spot 




114 A SEWING COURSE 

where the French knot is to be. Put the needle down to this place, wrap 
the thread two or three times around the needle, draw it so that the twisted 
thread is around the needle close to the spot intended for it, insert the point 
of the needle in the material at this same place, and holding the thread tight, 
fasten the knot down to the material by drawing the needle and the length 
of the thread through to the wrong side. 

Practice. — Have a piece of white flannel 5x5 inches stamped near the 
raw edges with a plain scallop on one side and a triple or fancy scallop on 
the other. In the plain space between have a few simple sprigs stamped 
(such as conventional leaves and flowers). Use the blanket-stitch for the 
scallops; the satin stitch for the leaves and flowers; a close outline stitch for 
the stems, and the French knot for the centers of flowers or for one half of 
some of the leaves. A number of French knots may be made close together 
to cover a surface. 

If the practice piece is to be retained, cut the flannel close to the scallop 
on one side to show the completed effect and leave the flannel below the scal- 
lops on the other side to show the way the work has been done. In making 
garments the flannel should be washed to allow for the shrinking before the 
material below the scallop is cut away. 

Suggestion. — Some article such as a small flannel skirt should be made 
by the pupils. In place of having the flannel stamped in scallops a five or 
ten cent piece may be laid on the flannel and half circles drawn regularly 
across the sides. These may again be joined by a smaller inner circle. De- 
signs for the edge may be drawn by the children. The drawing teachers in 
schools should prepare the classes for adequate designing for the decoration 
of their clothing. Very attractive yet simple designs may be made and di- 
rectly utilized on garments. Linen book covers and portfolios may be de- 
signed and embroidered in the same way that flannel would be. 



Nos. 53 and 54. COUCHING AND APPLIQUE. 

MATERIALS FOR PRACTICE. 

Linen ob Unbleached Mercerized Yarn, Scotch Needle, No. 6. 

Sheeting, 6x3 Inches. Floss, or Jute Threads, 

Material in Contrasting several strands. 

Color, 2x2 Inches. Silk, B or C. 

Application. — Decoration of table covers, scarfs and bags. 

Use. — Couching is a decorative stitch for outlining a patcern. It is 
frequently used in place of the outline-stitch to cover the cut edge of applique 
work and, at the same time, to hold it down to another material, and also to 
make a foundation over which other stitches can be worked, as in Venetian 
embroidery. In the latter, the blanket-stitch is made over the couched cord 
to obtain a design in high relief. 

Applique is the laying of one piece of material upon another. It takes 
the place of solid embroidery in a design. Couching is very generally used 
in connection with it. Both couching and applique are largely used in his- 
toric national embroideries, and have been used by many primitive people. 
They can be utilized to advantage in the schools, even with young pupils. 



COUCHING AND APPLIQUE US 

Fitness. — The soft rope-like appearance of couching makes an attrac- 
tive outline and also a good covering to the edge of materials. The stitch 
which crosses the cord not only satisfactorily holds down the materials be- 
neath, but lends itself to excellent decorative effects. The ease and rapidity 
with which beautiful results can be obtained by the use of various materials 
cut into designs and laid on other cloth makes applique a valuable, economical 
and artistic means of decoration. 




Fig. 49. — Couching. 



Rule. — Couching is a species of overhanding, or of over-casting, made 
over a cord or group of threads into the cloth beneath. The strand or strands 
must be as long as is needed for any part of the design where no break in 
outline can occur without injuring the pattern. The strands are held close 
to the outline or the edge of the pattern. If the couching is to cover another 
material which is to be appliqued by it to the foundation, the cord must com- 
pletely cover the raw edges. The stitch which holds down the strands is 
made across the cord at right angles to it and into the cloth beneath. The 
distance between the stitches is a matter of choice, or according to the im- 
portance of this stitch across the cord as strengthening the applique beneath. 
To finish the end of the cord when the termination of the pattern is reached 
must depend on the wisdom of the worker. The strands can be the same size 
throughout and be held down so neatly and yet strongly that the raw ends 
of thread will not show ; or they can be reduced gradually until invisible ; or 
a hole can be made in the material below and the cord can be fastened Be- 
eurely on the wrong side ; or the ends of the strands can be pushed under 
the applique and fastened. Innumerable threads and yarns are used for the 
cord, such as crewel, filoselle, mercerized yarn, jute and various wools. The 



116 A SEWING COURSE 

cross thread can be made of a contrasting color. Several lines of couching 
can be laid side by side, and the cross threads can be used to attractively 
vary the pattern, by such effects as diaper and basket designs. The strands 
can be wound into a disk and the cross-stitches can be made an attractive 
feature. Couching is also used as a basis for work with another stitch. In 
Venetian embroidery it provides the foundation over which a close blanket- 
stitch is made. The pattern is thus thrown into high relief. 

Applique is made of many materials, such as silk, velvet, linen, denim and 
others. The design is made first on paper; this is cut out and serves as a 
pattern for the material which is to be used for the applique. If the ma- 
terial is inclined to fray, it is well to make the design in thin paper, cut it 
out and paste it on the back of the cloth before cutting the latter. The 
design is then laid on the foundation material and basted or pasted in place. 
The latter way is used if the pattern is very elaborate, or if it has large 
stretches of plain surfaces. Wrinkles and bubbles in the design interfere 
with the beauty of the solid embroidery effect. When the pasting on of a 
design is finished, it should be put under a press until dry. The couching 
.1111 1 other needlework can then be done upon it. In heavy or stiff materials 
the doable pasting is not necessary. In such simple applique as would be 
done in most elementary and high schools the thin paper design can be pasted, 
if necessary, to the cloth, but when this is cut it can be basted to the founda- 
tion, instead of pasted. In place of applique, the foundation cloth is often 
painted or stencilled, and couching, outline or blanket-stitch used to finish 
the edge. 

Practice. — Make the design for the applique and have the color scheme 
and the materials worked out carefully ; the foundation, the applique and the 
cross threads must all be considered. Unbleached color in the foundation 
lends itself to good effects in dull oranges, brown, blues and greens in the 
applique. The strands for the cord may match the ground, or the applique, 
or may contrast, and the over-casting of silk may be an additional decorative 
feature. When these points have all been settled, take foundation material 
(ix.'i inches, and the design on thin paper wilich will occupy a space within 
'2\'2 inches. Cut out the design, paste it lightly and carefully, that no strain 
may go through, on the back of the material for the applique. Press it until 
dry and smooth, cut out the pattern, lay it on the foundation toward the 
end and a little to one side, and baste it in place. Take several strands of 
the yarn selected. Begin the work of couching at a part of the applique 
where the fastening down will show least; push the ends under the applique, 
and begin to overcast the strands through the applique and the foundation. 
Be careful to keep the overcasting stitches near enough together and on the 
edge of the pattern that the outline may be perfect. 

Suggestion. — This stitch is useful even in early grades, as it is simple 
and may be quickly executed. The art teacher can unite with the sewing 
teacher in obtaining good designs; the cutting and pasting are good exer- 
cises in themselves;; and many articles can be attractively decorated. Work 
bags, sofa cushions (large or small), table covers, bureau scarfs, and dress 
trimmings can be adapted to pupils from the fifth grade through the high 
school. It is possible to use couching even in earlier grades, as it is similar 
to the coarse towel weaving which is adapted to young pupils. Excellent 
color schemes can be worked, and very beautiful articles made at little expense. 



DRESSMAKING 117 

DRESSMAKING. 

SEWING ON BRAID, BINDING SEAMS AND FINISHING WAISTS. 

Application of the Principles of Dress Construction. — Dressmaking 
is a subject for the high school rather than for elementary education. Some 
experience of it, though, is well in the seventh and eighth school years, espe- 
cially in some localities. The pupils are thus enabled to be of use at home 
and in case they do not continue their education into the high school, but 
must go to work early, the experience may help them in their business life. 
Doll's and children's clothing and the making over of garments offer oppor- 
tunities for using some of these principles. Simple clothing can be brought 
from home or the entire class can work together on one garment (either new 
or old). This can later be used for exhibit or be devoted to some worthy 
object. If the higher grades have some practice in these principles the prac- 
tice pieces will not be necessary in the high school, for the pupils can go to 
work immediately on their own garments. 

In making and repairing garments in the home a knowledge is needed of 
accepted ways of sewing certain parts. It is well for the teacher of sewing 
to give attention to this even if she does not expect to teach regular dress- 
making. There are many ways of doing these necessary parts of garments, 
but it is only possible in the following suggestions to give a few of these. 
Work of this kind requires great care. The stitches need not be as small 
and accurate as in plain sewing, but they must be strong and firm. Success 
depends on the careful handling of the material that it may not be stretched, 
on the accurate union of parts and on the all-important pressing. 



Nos. 55 and 56. SEWING ON BRAID 
AND VELVETEEN. 

MATERIALS FOR PRACTICE. 

Cashmere or Cloth, Cotton No. 50, Needle, No. 8. 

4x4 Inches. or 

Cotton Skirt Lining When Desired, Silk No. A, 

4x4 Inches. or 

Mohair Skirt Braid, Buttonhole Twist D, 

41/0 Inches. or 

Bias Velveteen, Linen Twist A. 

414 Inches. 
(The color of the braid and velveteen 

should either match or be in 

harmony with the cloth.) 

Use. — To protect the edge of the skirt. 

The bottom of a skirt may be finished in various ways. Binding with 
braid or velveteen is the general usage. If the former is used it should be a 
strong mohair braid and not the ordinary skirt braids which soon wear out; 
if the latter, care again is needed to procure a good quality, as much of the 
velveteen for sale is worthless for this purpose. 



118 A SEWING COURSE 

Braid should be shrunk before using it on a garment or dampness may 
cause it to do so later and thus draw the skirt out of shape. There are vari- 
ous methods of shrinking the braid; such as plunging it in lukewarm water 
for a few minutes and tben shaking it out, putting it in boiling water and 
then drying it, or sponging it with water and afterward ironing it dry. 

Skirt braids and veleteens are better sewed on by hand than by machine, 
as the dust is less apt to catch in the stitches and wear them out. 

Rule for Sewing on Braid. — (1) When there is a lining in the skirt the 
following method is often used. Turn up the bottom of the skirt the re- 
quired length and hem the lining down over it. The lining when hemmed 
should be Vi of an inch above the bottom of the skirt. Lay the braid Hat on 
the wrong side of the skirt, letting it drop % °f an hick below the bottom. 
Run it on with an occasional backstitch V4 of an inch from the bottom of 
the braid, being careful not to take the stitch through to the cloth on the 
right side. Hem the opposite side of the braid to the lining (some workers 
prefer to use the running-stitch here also, as they consider it wears better, 
being more protected than the slanting stitch over the edge of the braid). 
To join the ends of the braid lay one end l 1 /-; inches over the other end. Turn 
each raw edge in x / 2 inch so that one will lap in the other. Overhand the folds 
at the bottom and hem the upper braid on the lower. Or sew the two ends 
together % inch from the raw edges. Turn back each end and hem or over- 
cast it to the braid beneath that no raw edges will be exposed. Press care- 
fully. 

(2) Where there is no lining in the skirt or where there is a drop skirt, 
the bottom is turned up the required length and finished with a hem or facing, 
varying in depth from iy 2 to 4 inches. To protect the edge of this hem, a 
mohair braid may be placed at the bottom. Allow the edge of the braid 
to extend about 1-16 of an inch below the hem. The upper edge of the braid 
may be fastened to the hem by a running or hemming stitch. If greater 
strength is needed put a second row of stitches at the lower edge also, being 
careful not to take them through to the right side. Press carefully. 

(3) Braid may also be sewed on so that it will have the effect of a 
fold at the bottom of the skirt, as in the velveteen binding. The skirt and 
the lining must be cut even and the braid laid on the right side of the skirt 
with its edge even with the other edges. The braid is sewed on by machine 
V4 of an inch from the bottom through the lining and the skirt. It is then 
turned back with all the raw edges underneath and hemmed to the lining 
or the skirt on the wrong side. The fold of the braid should extend Vs of an 
inch below the skirt to protect it. Press carefully. 

Rule for Sewing on Velveteen. — Cut the skirt and lining, if there is 
one. even all the way around. Turn them about !/_> an inch so the skirt will 
be the desired length, and hem the raw edges to the lining. Press carefully. 
Lay the velveteen on the bottom of the skirt with its right side against the 
wrong side of the skirt. Let V\ of an inch of the velveteen lie on the skirt 
and the rest extend below. Run it by hand to the skirt % of an inch from 
the bottom. Turn the velveteen back so that the fold will drop Vs °f an i ncn 
below the finished edge of the skirt and baste it in place. Turn in the oppo- 
site edge of the velveteen Vi of an inch and hem it to the skirt or to the lin- 
ing (it is sometimes herring-boned without turning in the edge). Join the 
ends of the velveteen by allowing y 2 inch more than the circumference of the 
skirt and sew the two ends in a bias seam. 



SEWING ON BRAID AND VELVETEEN 119 

Practice. — Take 4x4 inches of some wool material, use it single or line 
it with an appropriate cotton lining. The piece thus made is to be bound on 
each end of the length of the material. On one end place the mohair braid 
and bind according to one of the ways suggested under Rule for Sewing on 
Braid. The opposite end is to be bound with bias velveteen according to the 
Rule. 



Nos. 57 and 58. PLACKET AND POCKET FOR 
WOOL DRESS SKIRT. 

MATERIALS FOR PRACTICE. 

Heavy Cloth, Cotton. Needle. 

4x2V2 Inches (2 pieces), (See directions under Sewing on Braid and 

5x1% Inches (2 pieces, selvage). Velveteen). 

Lining if Desired, 
4x2% Inches (2 pieces). 
Binding, 6 Inches, 

or 
Cashmere, 

4x21/2 Inches (2 pieces), 
3x2 Inches (2 pieces) and 
Lining, 3x2 Inches 
(or 3x4 Inches and 3x2 Inches). 
Lining if Desired, 4x2% Inches. 
Binding, 6 Inches. 

Plackets in dress skirts are made in various ways according to the require- 
ments of the garment and the materials of which it is made. They are similar 
to the ones used in cotton fabrics (see Plackets) but demand a slightly dif- 
ferent treatment. 

Rule for Plackets. — The opening in a dress skirt should be only long 
enough to allow it to slip on easily. It is usually placed clown a seam. In 
heavy cloth two selvage strips of the material % an inch longer than the open- 
ing and DA inches wide are used for the lining and the underfacing or the 
fly of the placket as the material is heavy enough without a lining. Light 
weight wool materials such as cashmere and challie have not substance enough 
to be used without lining. These plackets may be treated in two ways. 
(1) Two pieces are cut % an inch longer than the opening. One piece is 
intended for the fly or underfacing of the placket; it is cut lengthwise of 
the material and may be lined with the dress lining or cut double and folded 
back lengthwise on itself; the second piece is to face the upper side of the 
placket. It is often cut crosswise of the material. (2) One long piece, twice 
the length of the opening, may be cut and turned back on itself (see Placket 
No. 3. Finish No. 2). 

The method of proceeding with dress plackets cut in two pieces is the 
following: The seam of the dress should be open, having previously been 
pressed. The right side of the opening is to lap over the left side. (Opin- 
ions differ as to the side which should lap over the other.) Take the strip 
which is to line the upper side of the placket. Lay it on the right side of the 



120 A SEWING COURSE 

material and seam it to the opening a little way within the former seam, 
turn it back to form a facing on the wrong side and hem it to the lining or to 
the skirt. This side will lap over the other. As the seam has been made a little 
within the pressed line of the former seam, it will not show. Turn to the left 
side, take the piece for the fly (the selvage strip, the double strip or the lined 
strip) and lay it on the left side with the right sides of the cloth together. 
Stitch into a seam a little within the pressed line of the seam, turn the seam 
back and let the added piece of cloth lie flat under the right side of the 
placket. Bind or overcast the part of the seam below the opening ( see Bind- 
ing Seams). At the bottom of the opening the fly must be fastened to the 
upper facing and both must be fastened to the dress lining or skirt without 
going through to the right side. Lay the fly flat on the facing and stitch them 
together at the end of the opening. The ends below the stitching may be fin- 
ished in three ways. (1) If the cloth is strongly woven some of the material 
under the fly may be cut away and the raw edges of the fly herring-boned or 
hemmed to the lining of of the dress. (2) If the cloth is light in weight, turn 
the fly back in a fold and fasten it to the seam of the skirt, or (3) cut the 
raw edges of the fly and the upper facing even and bind them across with 
silk binding. The seam containing the fly can be bound its entire length with 
silk binding or it can be overcast. 

Practice. — Take two pieces of cloth or cashmere, 4x2^2 inehes, leave 
them unlined or line them with cotton skirt lining according to the prevailing 
fashion. Stitch together (Cither by hand or machine) the two pieces in a good 
seam. Press the seam open. The opening for the placket can now be made 
down the seam 2'4 inches. The way to proceed with the rest of the placket 
depends on the cloth chosen. If it is a strong suiting use selvage strips of 
cloth and follow the rule in completing the placket. If a soft flimsy wool 
has been chosen the onderfacing or fly can be lined with the dress-lining. 
In most wool materials ;i doable strip of the material may be used for the 
onderfacing. Follow the rule in completing the placket. Bind the seams 
with silk binding or overcast them. 

Rule for Pockets. — "Ways of cutting and inserting pockets should also 
be discussed by (he classes. They may be cut in two pieces in a bag shape 
with one side straight and the other curved, with the opening on the straight 
side ; or they maj r be cut in two pear-shaped pieces and one piece laid on top 
of the other with an opening cut in the center of one of the pieces. The 
length is about 13 or 14 inehes. They are set into a seam of the skirt or in 
a slit in the material. A bag pocket would have its opening two or more 
inches below its top. Pockets are faced inside with the material of the dress. 
This facing should extend back, above and below the opening at least two 
inches, so that the inside of the pocket will not show if open a little. When 
the pocket is made it is turned wrong side out, put through the opening of 
the seam prepared for it, and seamed on the wrong side to the skirt in the fold 
of the seam. As small a seam should be taken from the pocket as the need 
of strength will allow, so that it will close better. This is especially the case 
at the top and the bottom of the pocket seam. The seams should be pressed 
open and bound or overcast. A ribbon or tape should be sewed to the top 
of the pocket and fastened to the belt to sustain the weight and keep the 
pocket in shape. When the pocket and the placket are on the same seam the for- 
mer usually extends to the belt and does not need the tape or ribbon. The upper 
part of the seam of the pocket should be carefully sewed by hand to the 
skirt, as the tapering off of the seams makes it rather weak at this point. The 



PLACKET AND POCKET FOR WOOL DRESS SKIRT 121 

lower part of the seam may also be sewed by hand, as too deep a seam causes 
the pocket to flare open. The material of the pocket should match the skirt, 
but it must be a fast color or the contents of the pocket will be injured. 
Percaline is good for this purpose as the light side can be the inside of the 
pocket. 

Practice. — A class should cut full sized pockets in paper, or, if they need 
practice, they can be made in any available material. If the teacher wishes 
an example of a pocket for her interleaved copy of the Sewing Course she- 
can make a small one and insert it in the placket (see No. 55), or she can 
make a separate pocket. It is better for the classes to make full sized pockets. 



No. 59. FRONT OF WAIST. HOOKS AND EYES. 

MATERIALS FOR PRACTICE. 

Dress Material, Cotton. Needle. 

4x3 Inches (2 pieces). (See directions under Sewing on Braid, etc.) 

Waist Lining (Percaline or French Cambric). 
4x2% Inches (2 pieces). 
Bone, 4 Inches (2 pieces). 
Hooks and Eyes (small size), 4. 

Rule. — The front of a waist is frequently held together with hooks and 
eyes. These may be placed (1) on the lining alone, if the waist material is to 
be entirely separate and fastened on one shoulder covering the opening com- 
pletely, or (2), if the waist material is to be opened down the front, a facing 
of the cloth should be placed on the lining and extend a couple of inches 
back from the hooks and the eyes on each side to make a neat appearance. 
if the waist material should open, or (3), in case of a waist plainly fastened 
in the front, the hooks and the eyes would be fastened on the lining, the 
cloth of the waist would be folded back on itself and slip-stitched or hemmed 
to the lining in such a way that when the waist was hooked the folds of 
the waist material would meet and cover the hooks and eyes. 

In each case the lining would be treated in the same way. It should be 
an inch wider on each side than the meeting of the parts would require. Turn 
the lining back on itself one inch on the wrong side and stitch a casing from 
one end to the other, wide enough to hold the bone (the bone will be the 
height of the dart). In order to make the bone-casing firm it is well to put 
another line of stitching along the edge of the waist that the bone may be 
snugly enclosed between two stitched lines. Spring in the bone and fasten it 
securely at either end (through the bone or above and below it in the ma- 
terial.) When hooks and eyes are to be sewed on it is well to put a piece of 
clinoline under the lining turning it back with it. The bone can be slipped 
in the crinoline and the hooks and eyes can be sewed through it and have a 
strong foundation. Sew the hooks and eyes on the wrong side alternately 
unless hump hooks are used, at equal distances on the lining, or through the 
dress material and the lining if the sewing will be covered by the trimming 
on the outside of the waist. The hooks should be % of an inch back from 
the edge and the eyes V s of an inch over the edge, so the dress will exactly 
meet. Turn the remainder of the lining back over the hooks and eyes to make 
a neat finish and hem it down ; or cut away all superfluous material and cover 



122 A SEWING COURSE 

the raw edges, the hooks and the eyes with galoon or silk bone-casing, 
hemming it down on both sides. If the waist front is to be untrimmed the 
dress material must be folded back to entirely cover the hooks and eyes. The 
material should be cut to extend well beyond the casing. Turn under the raw 
edge on each side back on itself allowing the fold to extend far enough beyond 
the edge of the bone-casing so that it will completely cover the hooks and eyes 
when they are fastened and under strain. Slip-stitch in place. 

Sewing on the Hooks and Eyes. — An over and over stitch is usually 
better to hold the hooks and eyes than the buttonhole-stitch, as it is finner 
The metal loops are made for the stitches. In beginning to sew on either a 
hook or an eye it is well to take two stitches in one loop and. then two in the 
other to hold it in place and then return to sew around each loop and across 
between the loops, drawing the thread very tight. In addition to this the 
eyes should also be held down on each side just above the loops and again 
near the edge of the material, and the hooks should be sewed across the shank 
near the turning back of the hook. 

Practice. — Take two pieces of waist lining 4x2% inches, finish them ac- 
cording to any of the three suggested ways. Take small black hooks, instead 
of a larger size generally used in waists, so they will be less apt to injure 
the bristol-board in the interleaved edition of the Sewing Course. Put on 
four hooks and eyes, alternating them at equal distances on the practice pieces. 



Nos. 60 and 61. BONE CASING. SEAM BINDING. 

MATERIALS FOR PRACTICE. 

Dress Material, Silk No. A. Needle, No. 8 or 9. 

4x2 1 / : > Inches (2 pieces). Cotton No. 50 

Waist Lining (Percaline (To match Dress material.) 

or French Cambric) 

4x2y 2 Inches (2 pieces). 

"Whalebone, 3% Inches. 

Silk Binding. 10 Inches. 

Galoon or Bone Casing, 6 1 /o Inches. 

In the finishing of a waist the putting in of the bones and the binding 
of the seams are very important. After the waist is put together the seams 
must be cut even and notched in certain places, especially in curved seams in 
order to tit into the figure. One notch is always made at the waist line 
almost up to the sewing. A couple of notches should be made above the 
waist line in seams which are considerably curved. The edges of the notch 
may be curved to aid in the binding. The seams must be dampened (dipping 
the fingers in water and passing them over the seam is often better than 
to use a wet cloth), and pressed open to see if they lie flat before binding 
them. A narrow pressing board and an iron for seams aids in the work. 

Binding Seams. — The raw edges of the seam may be finished in several 
ways. (1) The dress material and the lining may be overcast together. (2) 
The dress material and the lining may be turned in on each other and either 
overcast or run together. The seams must be made wider if this means is to 
be used than for Nos. 1 and 3. (3) The seams may be bound with a soft 
binding ribbon. The ribbon is folded on either side of the raw edges of the 



BONE CASING. SEAM BINDING 123 

seam. In order to accomplish this most easily the ribbon may be creased along 
its length so that one side is slightly deeper than the other. It may then be 
laid over the raw edges of the seam with the shorter side toward the worker 
and both sides may be held by one line of running-stitches. The ribbon should 
be held easily around the curves so they will open well. 

Bonk Casings. — Many kinds of bones are used for waists. It is generally 
conceded, however, that whalebone is the best, as it is thinner and more flex- 
ible than the others. Cased bones can be purchased, but they are not con- 
sidered as satisfactory as making the casings and inserting the bones. Bias 
binding or strong narrow ribbon bindings are the most desirable. The rib- 
bon easing should be eased on all the way and slightly fulled directly above 
and below the waist line. The bones are put in usually to about an inch below 
the height of the dart. If they are placed too high they will push through. 
In order to keep the bone from rubbing through the waist lining a pocket 
is made at the top of the casing by turning the ribbon back from % to 1 inch 
and overhanding the sides of it. The casing is sewed to the turnings on 
either side of the seam below this pocket. The middle of the casing should 
come directly over the seam. The ribbon casing is usually hemmed or run 
on both sides, the bias casing may be sewed the same way or the herring-bone 
stitch may be used across the casing from side to side. This makes an at- 
tractive finish. A bias casing does not need to be fulled on. The casing should 
be cut long enough to allow for the pocket at the top and for */2 inch extra 
at the other end. The bone is cut a little longer than the place it is to occupy. 
The ends should be rounded. After the casing is sewed on, the bone is put 
in from the bottom and pushed or sprung in tight into the pocket, the extra !/•> 
bones may be soaked in water and a needle can then easily pierce them, or 
holes may be pierced in them with a hot needle before inserting them in the 
casing. The bone may be sewed down with fan-shaped stitches at the top of 
the easing or a couple of strong stitches to the right and to the left over the 
easing and into the turned back material of the seam may be taken just below 
inch of easing is turned in over the bone and the casing sewed closety to the 
seam. The bones also must be fastened to the seam at the end of the pocket 
and Vi i nc 'h from the bottom of the bone. To provide for this the whale- 
the pocket. It must also be sewed down % inch from the end of the bone. 
In short bodices the end of the bone should come about a /4 of an inch from 
the lower edge. The bottom of the waist should be turned up and sewed 
firmly to the bones before the facing is finished. (The facing may be sewed 
to the bodice by machine before the latter is sewed to the bones.) The fac- 
ing will then be hemmed into place. In a long bodice the bones need not be 
carried far below the waist line. 

Practice. — Take two pieces of dress material 4x2^ inches and line them 
with waist lining. Lay the cloth sides exactly together. Crease a vertical 
line through the four thicknesses % an inch in from the right hand side. 
Crease another line, at right angles to the first, 1 inch from the bottom to 
indicate the waist line. Measure V s of an inch in from the intersection of 
these lines and make a curved line from the bottom to the top of the vertical 
crease passing through the % of an inch point on the waist line. This line 
represents the curved seam in a waist. Stitch the pieces together in a seam 
along the curved line. Either the hand or the machine may be used. Trim 
the edges to % an inch from the seam. Make a notch at the waist-line to 
within y 2 of an inch of the seam and two other notches about 1 inch apart, 
above the first. Round off the edges. Press open the seams and bind the raw 



124 A SEWING COURSE 

edges according to the rule. In putting the bone casing down the seam allow 
for a pocket of % of an inch at the top and y 2 an inch at the bottom. Let 
the bone end Vi of an inch from the end of the 
inches in length. Finish all according to the rule. 



No. 62. SLIP STITCHING. 

MATERIALS FOR PRACTICE. 

Cashmere, Silk A. Needle, No. 10. 

5x3 Inches. (To match cashmere.) 

Application. — In neckwear, trimming for hats, or folds on dresses. 
Use. — In dressmaking and millinery to hold two edges of cloth together; 
to hold down a hem where the hemming-stitch would show too much, or to 
fasten on trimming such as bias bands, cording and folds. 

Fitness. — The stitch is almost invisible and is well adapted to dressmak- 
ing and to millinery. 

There are many forms of the stitch adapted to various requirements. 
Rule. — The form of the stitch is like the running-stitch (Fig. 50). It 
will hold material securely and yet be almost invisible on the right side. The 
material or the hems to be slip-stitched down must be carefully prepared and 
basted in place. The thread must be securely fastened. The stitch is made 
on the wrong side of the material well under the edge of the fold. The fold 
is turned back a little with the finger and a long running stitch is taken 
through the fold and then into the material catching but a couple of threads 
and not going through to the right side of the cloth. It continues with a long 

stitch in the fold and an almost in- 
visible one in the material. In mil- 
linery the stitch may be drawn in 
such a way that the fold may be 
fitted into a place, yet the material 
will not look wrinkled. Fine 
needles are used in slip-stitching. 
Fi'3. 50. — Slip-Stitching. The work requires practice and 

neatness of touch. 
The same form of slip-stitch is used combined with a backstitch, where 
a fold is to be held on the outside of a gown. The stitch is taken on the right 
side of the material well in as well as under the fold so it will not show, but 
a good hold is taken in the material under the fold. 

Another form of the stitch is called slip-hemming. It is used to hold 
the raw edge of a fold to the material when the double fold used in hemming 
would show through. The edge of the material is folded over once. A stitch 
is taken, resembling the herring-bone, but is made from right to left and does 
not have the crosses. The stitch is like a running stitch. It is first taken in 
the fold above the raw edge and then below in the material, but in the latter 
a very small hold is taken, so it will not show on the right side of the cloth. 
Practice. — Take a piece of cashmere 5x3 inches. Turn a hem of % an 
inch along one long edge. The first turn of the hem must be about % of an 
inch, baste this down % °f an inch from the edge of the fold when turning 
the V-2 inch hem. Slip-stitch the hem to the cashmere under the edge of the 
fold according to the rule. 




PRICES OF MATERIALS 



125 



PRICES OF MATERIALS. 

Width or Size. 

Beeswax 

Binding — 

Seam 

Velveteen 

Bone Casing 

Braid — 

Skirt % in. 

Narrow % " 

Mohair % " 

Burlap — 

Cotton 48" 

Jute 26 " 

Buttons — 

Pearl 

Bone 

Shoe 

Canvas — 

Java 18-36 ' ' 

Penelope 24 " 

Aida 18-36 " 

Scrim, heavy 40 " 

Cotton Cloth — 

Batiste 40 " 

Cambric 36 " 

Canton flannel 27 " 

Chambray 27 " 

Cheese cloth 36 " 

Damask (Mercerized) 48-16 " 

Denim 32" 

Dimity 27 " 

Drilling 30 " 

Gingham (apron) 24 " 

Gingham (dress) 27 " 

Lawn 24-36 " 

Muslin, unbleached 36 " 

Muslin, white 36 " 

Nainsook 36 " 

Nearsilk 36" 

Organdie 27 " 

Percale 36" 

Percaline 27" 

Sateen 27 " 

Ticking 32 " 



Price. 




$0.50 lb. 




.10 


piece 




.25 


" 




.15 


tt 




.05 


< t 




.17 


for 


24 yd 


.15 


piece 




.90-1.25 


yd. 




.35 


i c 




.10- .20 


doz. 




.20 


gross 




.07 


tt 




.45- .70 


yard 




.17- .25 


" 




.20- .30 


1 1 




.35 


" 




1.00 


" 


up 


.15- .25 


1 1 




.15 


" 




.25 


" 


up 


.07- .10 


t t 




.40- .60 


" 




.22 


I I 




12%- .25 


t I 




.12- .18 


t i 




.08-.12y 2 


1 1 




12%- .50 


1 1 




.10- .75 


i c 




.07- .15 


" 




.10- .20 


( i 




.15 


" 


up 


.25 


1 1 




.25 


" 




.12V 2 


" 




.22 


" 




.20 


" 




.18 


1 1 





LJ6 



A SEWING COURSE 



Width oe Size. 

Cotton Thread — 

Basting No. 16-50 

Clarks, O. N. T No. 24- 150 

Darning 

Embroidery, D. M. C No. 16-60 

Emekies 

Kindergarten Cards No. 183 

Lace — 

Torchon % in. 

Valenciennes % " 

Insertion J i " 

Heading V> " 

Linen- Cloth — 

Batiste 25-37 " 

Butchers 24-44 ' ' 

Canvas 45 " 

( rash 18-36 ' ' 

Damask 54-72 " 

Diaper 24 " 

Laces %-Z " 

Lawn 18-36 ' ' 

Toweling 18-36 ' ' 

Linen Thread — 

Barbours 

Scotch Floss 

Needles — 

BodHna 

Fine darning (crewel) No. 8 

Hammock 

Large darning double long No. 6a 

Milward sharp No. 5-12 

Tapestry No. 17-21 

Paper — 

Colored 6x6 in. 

Drafting 

Engine 6x6 " 

Sheets 20x24 " 

Striped tissue 30x20 " 

Pincushions 

Rulers 

Scissors — 

Blunt 4-inch 

Button-hole 

Sharp points 5-inch 

Shears 

Paper shears 

Silk — 

China 24-27 in. 

Crepe de Chine 24-36 ' ' 

Foulard 27-36 " 

Gros grain 24-36 ' ' 



Price. 





.24 doz. 




.62 


" 




.24 


" 




.15 


t ( 




.50 


( t 




.25 


pkg. 100 




.12 


yard 




.25 


piece 




.25 


" 




.25 


1 1 


.25- 


1.00 


yard 


.40- 


1.50 
.50 


,, 


.10- 


.36 


1 1 


.75- 


3.00 


1 c 


.50- 


.75 


1 1 


.10- 


.75 


1 1 


.25- 


2.00 


( c 


.25- 


1.00 


" 




.10 


spool 




.25 


hank 




.10 


per paper 




.45 


doz. ' ' 




1.00 


* t 




.10 


per paper 




.45 


doz. papers 




.45 


" " 




.25 


100 sheets 




10.00 


large roll 




.25 


100 sheets 




.04 


sheet 




1.75 


ream 




.50 


dozen 




.50 


1 1 




1.60 


1 1 


2.00-4.50 


1 1 




3.20 


1 1 


5.60-9.00 


1 1 




1.25 


pair 


.50- 


1.00 


vard 




1.00 


yard up 




.50 


" " 




1.00 


1 1 1 1 



PRICES OF MATERIALS 



127 



Width or Size. 

Silk — 

Louisine 24-27 ' ' 

Pongee 24-36 " 

Satin, cotton back 24-27 " 

Satin, silk back 24-27 " 

Surah 24-36 " 

Taffeta 18-27 " 

Silk Thread — 

Sewing A-B 

Twist (Buttonhole) D-E 

Embroidery E-EE 

Tape — 

Cotton 114 in. 

Cotton % " 

Cotton, bobbin % " 

Tape Measures 

Thimbles — 

German Silver No. 5-9 

Aluminum " 

Brass " 

Celluloid " 

Whalebone 

Wool Cloth — 

Albatross 45 in. 

Alpaca 42 " 

Broadcloth 52 " 

Cashmere 42 " 

Camel 's Hair 45 " 

Challie 27" 

Checks 54 " 

Cheviot 52" 

Bunting 18 " 

Doeskin 72 " 

Felt 45 " 

Flannel 24-36 ' ' 

Granite cloth 40 " 

Henrietta 36 " 

Homespun 42 " 

Ladies ' cloth 54 " 

Melton . 54 " 

Merino 42 " 

Mohair 40 " 

Voile 40 " 

Serge 40-44 " 

Poplin 40 " 

Bep 36-45 " 

Wool Yarn — 

Columbia 

Saxony 

Zephyr 



Price. 



1.00 


it tt 


.55 


it tt 


.50 


a a 


1.50 


tt 1 1 


.75 


" " 


.75 


" " 


.80 


dozen 


.45 


t < 


.85 


1 1 


.10 


piece 


.10 


it 


.10 


dozen 


.40- .60 


" 


.45 


1 1 


.30 


1 1 


.12 


it 


.36 


n 


.25 


piece 


1.00 


yard v 


.75 


" " 


2.00 


" " 


.75 


tt 1 1 


1.00 


" " 


.35 


1 1 it 


.75-1.50 


" " 


1.00 


1 1 n 


.50 


1 1 it 


4.00 


tt it 


.65 


1 1 tt 


.25 


tt 1 1 


.75 


tt a 


.75 


" " 


1.00 


" " 


1.25 


1 1 it 


2.00-6.00 


" " 


.75 


" " 


.75-3.00 


1 1 tt 


1.00 


tt tt 


1.00 


it 1 1 


.65 


tt tt 


.65 


" " 


1.45 lb. 


1.50 


1 1 


2.20 


it 



up 



128 



A SEWING COURSE 



SUGGESTIVE LIST OF DOMESTIC ART BOOKS. 



I. EDUCATIONAL. 

School and Society. Dewey. 1899. Chi- 
cago University Press. 
Place op Industries in Elementary Edu- 
cation. K. E. Dopp. Chicago University 

Press. 
The Aim of Education. C. H. Henderson. 

Popular Science Monthly, 49:485, 35:433, 

46:799. 
Method of the Recitation. McMurry. 

1904. New York, Macmillan. 
Talks to Teachers. Wm. James. 1S99. 

New York, Holt. 
Teachers College Records. New Y'ork, 

Teachers College. 
Psychology. Briefer Course. Wm. James. 

1893. New York, Holt. 
Youth, Its Education, Regimen and Hy- 

. G. S. Hall. Appleton. 1907. 
Principies op Teaching. Elements of 

Psychology. Thorndike. A. G. Seiler. 
Education and the Larger Life. Hender- 
son. Houghton, Mifflin & Co. 
Dr. Sadler's Reports. Eyre & Spottis- 

woode, London, 1902. 

Vol. 10. Moral Education in Secondary 
Schools. Mark. 

Knowledge Teacher Should Possess. J. 
E. RuBBell 

Vol. 11. Curriculum of Secondary 
Schools. Sandford. 

Secondary Education in Democratic Com 
munities. Paul Ilanus. 

Education and Industry in United States 
Mark. 
Growth and Education. Tyler. Hough 

ton, Mifflin. 1907. 
Making of Our Middle Schools. Brown 

Longmans. 1903. 
Principles op Class Teaching. Findlay 

1902. Macmillan. 
Education as Adjustment. O 'Shea. Long 

mans. 1903. 
Educational Reform. C. W. Eliot. Cen 

tury Company. 1898. 



Ethical Principles Underlying Educa- 
tion. Dewey. Yearbook of National 
Herbart Society, Vol. 3, 1899. Univer- 
sity of Chicago Press. 

Educative Process. Bagley. Macmillan. 
1905. 

Froebel, Chaps. II, V, IX. Bowen. Scrib- 
ner. 1893. 

Education by Development, Chap. V. 
Froebel. Appleton. 1899. 

The Community and the Citizen. Arthur 
W. Dunn. D. C. Heath. 

The Early Cave Men: The Tent Dwel- 
lers. Dopp. Rand, McNally. 1904. 

The Later Cave Men. Dopp. Rand, Mc- 
Nally. 1906. 

The Story of Ab. Stanley Waterloo. Way. 
1897. 

L 'Education Domestique des Jeunes Fil- 
les. Frank. Librairie Larousse. 1904. 

Industrial and Social Education.. Bald- 
win. M. Bradley. 1903. 

Monographs on Education. Butler. J. B. 
Lyon & Company. 1900. 

II. CHILD STUDY 

A Study of Child Nature. Elizabeth Har- 
rison. Chicago Kindergarten College. 
1891. 

Children's Rights. K. D. Wiggin. Bos- 
ton. Houghton. 1892. 

The Development of the Child. Oppen- 
heim. Macmillan. 

Notes on Child Study. Thorndike. Mac- 
millan. 1903. 

III. STUDY OF TEXTILES. 
Home Life in Colonial Days. A. M. Earle. 

Macmillan, New York. 1899. 
Cotton Spinning. R. Marsden. New York, 

Macmillan. 1895. 
Woolen Spinning. Chas. Vickerman. New 

York, Macmillan. 1894. 
How We Are Clothed. Chamberlain. New 

York, Macmillan. 1904. 



SUGGESTIVE LIST OF DOMESTIC ART BOOKS 



129 



Textile Fibres. Matthews. New York, 
Wiley. l'JOi. 

The Dclmestic Sheep. Stewart. Chicago, 
American Sheep Breeder Press. 1900. 

The Dyeing of Textile Fabrics. Hum- 
mel. New York, Cassell. 1S93. 

The Story of the Cotton Plant. F. 
Wilkinson. New York, Appleton. 1899. 

First Steps in Human Progress. F. Starr. 
New York, Chautauquan Association. 
1901. 

Woman's Share in Primitive Culture. 
O. T. Mason. New York, Appleton. 1899. 

The Origins of Invention. 0. T. Mason. 
Scribner. 1S99. 

Spinning. Annie Garnett. Bowncss. West- 
moreland, England. 

Weaving. Katherine F. Steiger. Hart 
Bros., Rochester, N. Y. 1907. 

Textiles and Clothing. Kate H. Watson. 
American School of Home Economics, Chi- 
cago, 111. 

United States Government Publications: 
Department of Agriculture. Supt. of 
Documents. Washington. Office of Fibre 
Investigation. 

Technical Books of the American 
School of Home Economics. Chicago. 

Textile Fibres of Commerce. Hannau. 
1902. Griffis, London. 

Silk Industry in America. L. P. Brock- 
ett. 1876. Van Nostrand. 

Silk Manufacture. Gilroy. 1845. Har- 
per 's. 

Silk Culture in California. Carrie Wil- 
liams. 1902. Whitaker. 

An Instructive Book in the Art of Silk 
Culture, compiled by the Women 's Silk 
Culture Association of the United States 
at Philadelphia. 1882. 

Silk in America. W. C. Wyckoff. 1879. 
Van Nostrand. 

Linen — How it Grows. National Flax 
Fiber Company. 1900. 

Linen Trade, Ancient and Modern. War- 
den. 1864. Longmans. 

Wool Spinning. W. S. McLaren. 1899. 
Cassell. 

Wool Manufacture. Beaumont. 1890. 
George Bell. London. 

Animal Products. P. L. Simmonds. 1877. 
Chapman and Hall, London. 



The Structure of the Wool Fibre. F. H. 

Bowman. 1885. Palmer & Howe, Man- 
chester. 
Cotton Weaving. F. Marsden. 1895. 

George Bell, London. 
The Mechanism of Weaving. J. W. Fox. 

Macmillan. 1S94. 
Weaving and Designing. Ashenhurst. 1879. 

Simpkin, London. 
Students' Cotton Spinning. Joseph Na- 
. smith. 1892. Van Nostrand. 
Flax, Tow and Jute Spinning. Peter 

Sharp. 18S2. Simpkin, London. 
Loom and Spindle — Life among the Early 

Mill Girls, introduction by C. D. Wright. 

Robinson. 1898. Crowell. 
Practice in Finishing. Greene. 1S86. 

Textile Record, Philadelphia. 
Primitive Frame for Weaving Narrow 

Fabrics. O. T. Mason. 1901. Govern- 
ment Printing Office, Washington. 
Primitive Travel and Transportation. O. 

T. Mason. 
Man Before Metals. Joly. Appleton. 

1883. 
Primitive Culture. Tylor. 1888. Holt. 
Anthropology . Tylor. 1881. Appelton. 
Man and His Work. Herbertson. 1899. 

Adam Black, London. 
History of American Manufacturers. 

Bishop. 1868. Edward Young. 
The Cotton Industry. Hammond. 1898. 

Macmillan. 
Cotton Field to Cotton Mill. Thompson. 

1906. Macmillan. 
Principles of Dyeing. Love. 1869. Baird, 

London. 
Weaving. Todd. 1902. Rand, McNally. 
Wool, Cotton, Silk. E. A. Posselt. 1901. 

E. A. Posselt. 
Wool Dyeing, 2 Vols. E. A. Posselt. E. 

A. Posselt. 
Ornament in European Silk. Pole. 1899. 

Debenham, London. 
American Cotton Industry. Young. 1903. 

Scribner. 

IV. SEWING AND DRESSMAKING. 

School Needlework. O. C. Hapgood. 

1893. Boston, Ginn. 
Elementary Needlework. K. McFoster. 

Boston, Prang. 



130 



A SEWING COURSE 



Scientific Sewing and Gaement Cutting. 
Wakeman. Boston, Silver, Burdett & Co. 

School and Home Sewing. Frances Pat- 
ton. Teachers' Edition. 1901. New York, 
Newson. 

Household Sewing with Home Dress- 
making. Bertha Banner. New York, 
Longmans. 

Practical Dressmaking. Mrs. J. Bough- 
ton. ISO". London, Maemillan. 

Dressmaking Up to Date. Butterick Pub- 
lishing Co. 

A SEWING COURSE. Mary Schenck Wool- 
man. Buffalo, F. A. Fernald. 

Dress-Cutting, Drafting and French 
Pattern Modeling. M. Prince Brown. 
London, Archibold Constable & Co. 

V. MISCELLANEOUS HANDWORK. 
Cane Basket Work. Annie Firth. 1899. 

New York, Scribner. 
Hi iv. to Make Baskets. Mary White. New 

York. Doublcday, Page & Co. 
Varied OCCUPATIONS in Weaving. Varied 

Occupations in String Work. Louise 

Walker. 1S95. Maemillan. 
ART in Needlework. Day. 1900. Bats- 

t'nrd, London. 
Illuminated Book op Needlework. Owen 

and Witton. 1897| Bohn, London. 
The Art Crafts for Beginners.. Sand- 

l,.r,l. 1904. Century Co. 
The Rug Primer. Clifford. 1904. 
The Abnakee Rug. Allen. Albee. 
Occupations for Little Fingers. Sage 

and Cooley. 1905. Scribner. 
Industrial and Seat Work. Gilman and 

Williams. 1905. Maemillan. 
Chub's Rainy Day Book. White. 1905. 

Doubleday. 
Knotting and Splicing. Hasluek. 1905. 

McKay. 
Study of Textile Design. Barker. 1903 

Dutton. 
Point and Pillow Lace. Sharp. 1899. 

Dutton. 
Oriental Rugs. Langton. 1904. Apple- 
ton. 
Embroidery. W. G. Townsend. 1899. Trus- 

love. London. 
Woman's Library of Needlework. Ethel 

McKenna. 1903. Ethel McKenna. 



Embroideries and Their Stitches. But- 
terick Publishing Co. 

Practical Millinery. J. Ortner. 1897. 
Whitaker, London. 

Columbia Book of the Use of Yarns. 

VI. HOUSEHOLD ART. 
Art in Needlework. L. F. Day. 1900. 

Scribner. 
Household Art. Mrs. Candace Wheeler. 

1893. New York, Harper. 

Some Principles of Every-day Art. L. F. 
Day. 1900. New York, Scribner. 

Color, Dress and Needlework. Lucy 
Crane. New York, Maemillan. 

Hopes and Fears for Art. Morris. 1904. 
Longmans. 

Art in Formation of Taste. Lucy Crane. 
1885. Chautauqua Press. 

Evolution in Art. A. C. Haddon. 1895. 
New York, Scribner. 

History of Art. Lubke. 18S6. Dodd. 

17th Annual Report on Labor: Art in In- 
dustry. C. D. Wright. 1902. Govern- 
ment Printing Office. 

Plea for Handicraft. Crane. The Philis- 
tine Magazine, March, 1900. 

A Short History of Tapestry. Muntz. 
1885. Cassell. 

Some Arts and Crafts. Dutton. Wom- 
an's Library, Vol. IV. 1903. 

VII. ORNAMENT AND DESIGN. 
Lesson on Decorative Design. Jackson. 

1894. Chapman & Hall, London. 
Grammar of Ornament. Owen Jones. 

1868. Bernard Quaritch, London. 
Egyptian Decorative Art. F. Petrie. 1895. 

Putnam. 
Design for Woven Fabrics. Stephenson. 

1900. Stephenson, Methuen, London. 

VTII. DRESS. 

Gloves — Their Annals and Associations. 
Beck. 1883. Hamilton, London. 

A Book About Fans. Flory. 1885. Mae- 
millan. 

Lace. Goldenberg. 1904. Brentano. 

La Dentelle et la Broderie sur Tulle, 
Vols. I and II. Pierre Verhagen. J. Le- 
beque et cie, Bruxelles. 



SUGGESTIVE LIST OF DOMESTIC ART BOOKS 



131 



Art as Applied to Dress. Higgin. 1885. 

Virtue, London. 
Beauty in Dress. Oakley. 18S1. Harper. 
History of Fashion in France. Challa- 

mel. 18S2. Low, London. 
Art and Ornament in Dress. Chas. Blanc. 

18S7. Chapman, London. 
The Well Dressed Woman. Eeob. 1S93. 

Fowler. 
Costumes of Colonial Times. Earle. 1894. 

Seribner. 
Two Centuries of Dress in America, 2 

Vols. A. M. Earle. 1903. Macmillan. 
History of English Dress. Hill, 1893. 

Bentley, London. 
Greek Dress. Lady Evans. 1S93. Mac- 
millan. 
What Dress Makes Us. Quigley. 1897. 

Dutton. 
Historic Dress in America. McClellan. 

1904. Jacobs. 
English Costume. Calthorp. 1906. A. & 

C. Black, London. 
Gentlewoman 's Book of Dress. Douglass, 

Henry Loud. 
Sartor Resartus. Carlyle. 

IX. ARCHITECTURE AND FURNISH- 
ING. 

Decoration of Houses. Wharton. 1897. 
Seribner. 

Old Furniture Book. Moore. 

Old China Book. Moore. 1903. Stokes. 

Colonial Furniture in America. Lock- 
wood. 1901. Seribner. 

Japanese Homes and Their Surround- 
ings. Morse. 1885. Ticknor. 

Our Homes and How to Beautify Them. 
Jennings. 1902. Harrison, London. 

Wall Faper. Jennings. 1903. Comstock. 

Furniture of the Olden Time. Francis 
Morse. 1902. Macmillan. 

History of English Furniture. Percy 
Macquoid. 1904-6. Putnam. 

On the Nature of the Gothic. Ruskin. 

Stones of Venice . Ruskin. 1886. Allen, 
London. 

History of Architecture. Hamlin. 1895. 
Longmans. 

A Short History of Architecture. Tuck- 
erman. 1887. Seribner. 



Architecture of the Renaissance in 
Italy. Anderson. 1898. Batsford, Lon- 
don. 

The Book of 100 Houses. H. Stone. 1902. 
H. Stone. 

Homes in City and Country. H. Stone. 
1903. H. Stone. 

Convenient Houses. Louis H. Gibson. 
1889. Croweil. 

Development and Character of Gothic 
Architecture. Moore. 1S99. Macmil- 
lan. 

Architectural Styles. Rosengarten. 1889. 
Chatto and Windus, London. 

Home Building and Furnishing. Price 
and Johnson. 1895. Doubleday, Page. 

X. INDUSTRIAL AND TECHNICAL 
EDUCATION. 

Educational Foundations of Trade and 
Industry. Fabian Ware. Applcton. 1901. 

Manual Trade and Technical Education: 
Proceedings of the National Educational 
Alliance. 1903. Thos. M. Balliet. 

Making the Working Girl a Crafts Wo- 
man. Elizabeth McCracken. The Out- 
look, Vol. 84, Dec. 23, 1906. 

The Problem of Industrial Education: 
C. R. Richards. Manual Training Maga- 
zine, April, 1907. Vol. 8. 

The Trend in American Education. James 
E. Russell. Educational Review, Vol. 32, 
June, 1906. 

The Urgent Need of Trade Schools. 
Frank A. Vanderlip. World 's Work, Vol. 
12, June, 1906. 

Fourth Annual Report of the Bureau 
of Statistics of Labor of the State of 
N. Y., 1886. Apprenticeship. Albany, 
1887. 

Vol. 7, Relations and Conditions of Cap- 
ital and Labor employed in the Manu- 
factories of General Business. Washing- 
ton, 1901. Industrial Commission, Re- 
port of the U. S. 

Education and Industry in the United 
States. Special Reports on Educational 
Subjects. H. T. Mark. Education De 
partment, Vol. II, 1902, Part 2. London. 
Eyre & Spottiswoode. 



132 



A SEWINCi COURSE 



Report op Massachusetts Commission on 
Industrial and Technical Education. 
Boston, 1906. Reprinted by Teachers 
College. 

Report op the Moseley Educational 
Commission. London. Co-operative Print- 
ing Society. 1904. 

Trade and Technical Education, 17th An- 
nual Report of the U. S. Commissioner 
of Labor. 1902. Washington. 

The Organization op Trade Schools; 
from the Point of View of a Trade 
School Director. Proceedings of the Na- 
tional Educational Association. 1903. Re- 
printed in the Proceedings of the Society 
for the Promotion of Engineering Educa- 
tion. Vol. II. 1903. A. L. Williston. 

The Basis of an Efficient Education — 
Culture or Vocation. Robert A. Woods. 
The School Review, Vol. 15, May, 1907. 

The Manhattan Trade School for 
Girls. Mary S. Woolman. Educational 
Review, Vol. 30, September, 1905. 

Trade Schools — An Educational and In- 
dustrial NECESSITY. Mary S. Woolman. 
The Social Education Quarterly. Vol. I, 
March, 1907. 

Industrial Education in Public Schools. 
J. Ernest G. Yalden. American Machin- 
ist, Vol. 30, April 18, 1907. 

XI. SOCIAL AND INDUSTRIAL LIFE. 

Industrial Evolution op the United 

States. Wright. 1895. Chautauqua 

Press. 
Industrial History of the United States 

Coman. 1905. Macmillan. 
General History op Commerce. Webster, 

1903. Ginn. 
Social Control. Ross. 1901. Macmil 

Ian. 
The Leaven in a Great City. Lillian W 

Betts. 1902. Dodd. 
American Municipal Procress. Zcubliu 

1902. Macmillan. 
The Municipal Problem. Frank J. Good 

now. 1897. Macmillan. 
New York Political Primer. Adele M 

Field. 1897. Macmillan. 
Democracy and Social Ethics. Jane Ad 

dams. 1902. Macmillan. 



The Level of Social Motion. Lane. 1902. 
Macmillan. 

The Theory op the Leisure Class. Veb- 
len. 1897. Macmillan. 

Evolution of Industrial Society. Ely. 
1903. Macmillan. 

Evolution op Industry. Dyer. 1895i. 
Macmillan. 

New Basis op Civilization. Patten. 1907. 
Macmillan. 

Out op Work. Frances Keller. 1904. Put- 
nam. 

Profit Sharing Between Employer and 
Employee. Nicholas Oilman. 1S89. 
Houghton, Mifflin. 

The Education op the Wage Earner. 
Davidson. 1904. Ginn. 

Some Ethical Phases of the Labor 
Question. Carroll Wright. 1902. Am. 
Unitarian Association. 

Sociology. Spencer. 1896. Appleton. 

Woman in the Past, Present and Fu- 
ture. Bebel. 

Les Professions Accessibles aux Fem- 

MES. 

Democracy and Empire. Giddings. 1900. 
Macmillan. 

Women Wage Earners. Helen Campbell. 
1887. 

Woman's Work in America. Meyer. 1891. 
Holt. 

History op Trade Unionism. Webb. 1902. 
Longmans. 

Education and Professions. The Wo- 
man's Library, Vol. I, 1903. Dutton. 

Commercial and Industrial Geography. 
MeFarlane. 1901. Philadelphia Commer- 
cial Museum. 

Handbook op Commercial Geography. 
Chisholm. 1903. Longmans. 

Industrial History. Vols. I and II. Ash- 
ley. 1888. Rivington, London. 

XII. COLOR. 

Philosophy of Color. Clifford. 1904. Clif- 
ford. 

Education of the Normal Color Sense. 
Jeffries. 1884. U. S. Bureau of Educa- 
tion, Circular of Information. 

An Elementary Manual of Color foe 
Students. Church. 1891. Cassell. 



SUGGESTIVE LIST OF DOMESTIC ART BOOKS 



133 



Color Vision. Hunt. 1S92. Sinipkin. 
Color. Van Bezold. 1876. Prang. 
Students Textbook of Colob. Rood. 1881. 

Appleton. 
Color in Schoolroom. Elementary Color. 

Bradley. 1890. Bradley. 
Manual of Color. Cave. 1SS2. Put- 
nam. 
Suggestions for Instruction in Color. 

Prang. 1893. 
The Color Sense. Grant Allen. 1892 

Paul, London. 
Principles in Harmony and Contrast of 

Color. M. E. Chevreul. 1883. Geo. 

Bell, London. 

XIII. EQUIPMENT AND ADMINIS- 
TRATION. 

Economics of Manual Training. Rouil- 
lion. 1905. 

School Sanitation and Decoration. Bur- 
rage & Bailey. 1899. Heath. 

Bulletin, Stout Manual Training 
School, Menominee, Wisconsin. 

Circulars of Equipment, Supplies and 
Furniture. 

XIV. ECONOMICS. 
Economic Function of Women. Edward 
Devine. Pub. of American Academy of 
Political and Social Science, No. 133, 
Philadelphia. 



The Woman Who Spends. Richards. 1904. 

Whitcomb. 
Outlines of Economics. Ely. 1900. Mac- 

millan. 
Monopolies and Trusts. Ely. 1900. Mac- 

millan. 
Elementary Economics. Ely and Wicker. 

1904. Maemillan. 
Economic History, I and II. Ashley. 1888. 

Rivington, London. 
How to Keep Household Accounts. Has- 

kins. 1903. Harper. 
Home Economics. M. Parloa. 1898. Cen- 
tury. 
Principles of Economics. Fetter. 1904. 

Century. 
Encyclopedia of Household Economy. E. 

Holt. 1903. McClure, Philadelphia. 

XV. HYGIENE. 

Manual of Personal Hygiene. Pyle. 

1900. Sanders. 
Food and Dietetics. Hutchinson. 1900. 

Wood. 
Hygiene of School Room. Berry. 1903. 

Snow and Farnham. 
Human Body. Martin. 1900. Holt. 
First Aid to Injured. Morton. 1884. 

Beacham. 



INDEX 



Application of Stitches, 62, 65. 

Applique, 115. 

Apron of Fine Muslin, 101, 108. 

Aprons, simple, 63. 

Backstitching, 47. 

Bands, 82. 

Basting, 44. 

Bias, garment, 55; true, 55, 57; ruffle, 58. 

Bibliography, 12S. 

Binding Seams. 122. 

Blanket Stitch, 71, 113. 

Bone Casings, 122. 

Books, Suggestive List, 12S. 

Braid, sewing on, 117. 

Button Bag, 63 

Button-holes, cotton, 67; cloth, 68. 

Button, sewing on, 70. 

Canvas Work. .".7. 

Cardboard Sewing, 35. 

Catch Stitch (Herring-bone), 103 

Chain Stitch, 101. 

Children's Work, 10. 

Child Study, 9. 

Circular Patches, 92. 

Class Lessons, 10. 

Cleanliness, 33. 

Coral Stitch, 99. 

Correlation, 12. 

Cost of Maintenance, 29. 

Couching, 115. 

Counter-Hemmed Patch, 92. 

Counter-Hemming, 61. 

Cross Stitch, 111. 

Cutting, 17. 

Darned-in Patch for Cloth, 97. 

Darning a Kid Glove, 86; by Fine Draw- 
ing, 96 ; Outline of, 89 ; Stockinet, diag- 
onal, 85, S6; stocking- web, 85; warp 
and woof, 85; Wooven Material, diag- 
onal tear, 85, 87; hedge tear, 85, 87; 
warp or woof tear, 85, 87; worn place, 
85, 87. 

Different Ways of Making Stitch, 32. 

Drafting and Cutting, 17. 

Drawing and Design, 14. 

Drawn Work, 105. 



Dressmaking, binding skirts, 117; plackets, 
119; hook and eyes, 121; binding seams, 
122; bone casing, 122; slip stitching, 
123. 

Drills, 10. 

Embroidery on Flannel, 113; Linen (Satin 
stitch), 109. 

Equipment, 29. 

Exhibit, annual, 31. 

Eyelets, 69. 

Fastening the Thread, 33. 

Gusset, 77. 

Half-Backstitching, 47. 

Handkerchief, hemstitched, 106. 

Handwork for the First Four Grades, 20. 

Hangers for Skirts, 80. 

Heddle, 41. 

Hem in Paper, 41. 

Hemming, 51, 63. 

Hemstitching, 105. 

Herring-Bone, 103. 

Hook and Eyes, 121. 

Household Arts in the Grades, 18. 

Hlustrations on the Board and Frame, 32. 

Kensington Outline Stitch, 113. 

Kid Glove Darn, 86. 

Knitting, 85, 89. 

Length of Thread, 33. 

Lesson Plan, 25. 

Letters, marking, 101, 109, 110. 

Loom, 40. 

Loops, 70; of Tape, 79. 

Marking, 101, 109, 110. 

Mitering, 41. 

Mounting Work, 8. 

Napery Stitch, 54:. 

Neat Finish, 32. 

Outline Stitch, 113. 

Overcasting, 48, 63. 

Overhand and Fell, 61, 93, 96; patch, 94. 

Overhanding, seam, 53 ; bias, 53 ; napery. 
53; selvages, 53; lace, 53. 

Patch, hemmed, 82; overhanded, 94; flan 
nel, 95; damask, 96; cloth, 97. 

Patching, 91; by Fine Drawing, 96. 

Patchwork, 45. 



136 



A SEWING COURSE 



Pattern Weaving, 39. 

Petticoat, 56. 

Plackets, skirt, 73; shirt waist, 74; drawers, 

75; lined dress skirt, 119. 
Pockets, 120. 
Position in Sewing, 23. 
Prices of Materials, 125. 
Purpose of the Book, 7. 
Putting on Bands, hemmed, 82; stitched, 
83; setting in of gathers, 83; over- 
handed, 83. 
Rapid Work, 32. 
Ruffle, bias, 58. 
Running, 43, 63; and Backstitching, 49; and 

Stitching, 50; Darn, 85. 
Sails, 61. 

Satin Stitch, 109, 113. 
Scallop, 71, 113. 
Beam Binding, 122. 

Seams, single, running, 43 ; stitching, 47; 
backstitching, 47; running and back- 
stitching, 49; ovcrhanding, 53; fine 
drawing. 64, 96; double, fell, 59; 
French, 60 ; overhand and fell, 61 ; 
counter-hemming, 61. 
Self Activity, 9. 

Sewing for Boys, 31, 64; in Public Schools, 
8, in Foreign Lands, 16; on Braid, 117; 
Buttons, 70; Laboratory, 30; Tape, 
79; Velveteen, 117, 118. 
Shirring, 44. 
Skirt, 55. 

Slip Hemming, 123; Stitching, 123. 
Small Travelling Case, 100. 
Social Screvice, 9. 
Stitched Patch for Cloth, 98. 
Stitching, 47, 63. 
Stockinet Darn, 86. 
Stocking Web Darn, 85. 
Stroking, 44. 



Suggestive Sewing for the Elementary 
School, 21. 

Supplementary Work, 31. 

Tape Measure, 33. 

Tape, sewing on, 79. 

Teacher, The, 8. 

Textile Study, 13. 

Trade School Teaching, 15. 

True Bias, 55, 57. 

Tucking, 81. 

Trunk Tray Cover, 101. 

Twill Weaving, 39. 

Tying Fringe, 109. 

Under Arm Patch, 92. 

Velveteen, sowing on, 117, 118. 

Vocational Foundation, 14. 

Warp and Woof, 31; Darn, 85, 87; Stock- 
inet, 85; Woven Material, 87. 

Weaving, 39; Outline of, 89. 

Whipped Hem, 107. 

Feather Stitch, 99. 

Fell, Overhand and, 61, 93, 96. 

Felling, 59. 

Fine Drawing, ball covers, 64; darning, 96; 
patching, 96; seams, 61. 

Finished Articles and Connected Thought, 
11. 

Flannel Embroidery, 113. 

Flat Buttonhole stitch, 71. 

Folding Hem in Paper, 41. 

Foreign Lands, Sewing in, 16. 

French Knot, 113. 

French Seam, 60. 

Front of Waist, Finishing, 121. 

Garment Bias, 55. 
Gathering, 44. 
Gauging, 44. 
Gore, 55. 

Grade Work Based on the Industries, 18; 
on the Home, 19. 



JUL 3 1308 



«m 



LIBRARY OF CONGRESS 



014 145 757 3 • 



II 



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